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Division 

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Shelf. 


QUANTITATIVE    PRONUNCIATION 
OF   LATIN. 


PRACTICAL   HINTS   ON   THE 

QUANTITATIVE  PRONUNCIATION 
OF  LATIN. 

FOR    THE   USE  OF  CLASSICAL    TEACHERS  AND  LINGUISTS. 


ALEXANDER  J.  ELLIS,  B.A.,  F.R.S.,  F.S.A.,  F.C.P.S.,  F.C.P. 

Past  President  of  the  Philological  Society, 

Formerly  Scholar  of  Trinity  College,  Cambridge, 

Author  of  "Early  English  Pronunciation." 


17  ^kv  yap  7re£V}  Ae|ts  ovfievbs  ovr3  6v6jjLaTos,  ovre  pharos, 
jSm^ercu  rovs  xpfoovs,  oi»5e  fjL€Tarld7]O'tv'  dAA'  o'las  irap€i\<ri<j)€ 
rf)  (f>vff€i  rots  ffv\\afias  ras  re  /xa/epcta  ftal  rds  j8pa%eias, 
roiavras  ^fAarrei. 

DION.   HAL.  First  Century,  B.C.     (See  Art.  41 


LIBRA  It  v 

- j  UNIVERSITY  OJ 

ACMILLAN    AND,  C.C- 

,8,4.  \UALIFORNU. 


[  The  Right  of  Translation  and  Reproduction  is  Reserved.  ] 


LONDON : 

JR.    CLAY,   SONS,   AND  TAYLOR,    PRINTERS, 
BREAD   STREET   HILL. 


j     LI  BU  A  Li  Y 

UNIVERSITY  OF 

((.CALIFORNIA. 
PRELIMINARY   NOTICE. 


PROF.  ROBINSON  ELLIS,  of  University  College,  London, 
at  the  close  of  the  Report  on  Latin  Philology  which  he 
was  kind  enough  to  contribute  to  my  farewell  presi- 
dential address  to  the  Philological  Society  (delivered  on 
May  15,  1874),  introduced  the  subject  of  Latin  Pro- 
nunciation as  follows : — 

"  The  question  of  Pronunciation  forms  one  of  the  sub- 
jects discussed  at  the  Schoolmasters'  Conference  this 
year.  The  meeting  which  was  held  early  in  1871  at 
Oxford,  to  take  steps  for  the  reformed  pronunciation  of 
Latin,  and  the  conference  of  schoolmasters  held  about 
the  same  time,  resulted  in  the  combined  Syllabus  of 
Latin  Pronunciation  drawn  up  by  Professor  Munro  of 
Cambridge  and  Professor  Palmer  of  Oxford.  This  was 
at  once  introduced  into  several  of  the  larger  schools  in 
England,  at  least  in  the  higher  forms.  I  myself  adopted 
it  for  the  use  of  my  classes  in  University  College,  and  a 
very  similar  scheme  of  pronunciation  was  only  last  year 
printed  by  Professor  Key  for  University  College  School. 
Independently  of  this,  a  reformed  pronunciation  has 


vi  PRELIMINAR Y  NOTICE. 

been  adopted  in  various  educational  establishments  in 
this  country ;  and  it  is  no  uncommon  occurrence  in  my 
classes  to  find  students  on  their  arrival  already  trained  in 
the  new  method,  with  such  slight  differences  (and  they 
are  really  slight)  as  the  divergence  of  opinion  on  par- 
ticular points  makes  unavoidable.  It  would  be  prema- 
ture at  present  to  express  any  opinion  as  to  the  eventual 
success  of  this  experiment ;  it  can  hardly  be  said  as  yet 
to  have  been  adequately  tried  in  schools,  or  properly 
seconded  in  the  Universities.  At  Oxford,  when  I  exam- 
ined viva  voce  as  Classical  Moderator  in  1872,  I  was  the 
only  examiner  who  used  the  reformed  pronunciation,  and 
those  who  then  came  before  me  for  examination  did  not 
generally  seem  familiar  with  it.  Even  now  the  old  use 
predominates,  and  it  is  to  be  feared  that  even  those 
trained  by  the  Syllabus  at  school,  e.g.,  at  Shrewsbury, 
Marlborough,  Liverpool  College,  Christ's  Hospital,  Dul- 
wich  College  and  the  City  of  London  School,  are  in- 
duced to  give  it  up,  or,  at  least  to  suppress  it,  when  they 
proceed  to  the  Universities.  On  one  point  there  seems 
to  be  a  very  general  agreement :  wherever  it  has  been 
introduced,  it  has  been  adopted  without  difficulty  by 
students  of  all  ages,  even  by  the  youngest  boys,  from  ten 
years  old  upwards.  It  is  obvious  that  if  it  is  to  be  really 
successful,  it  should  be  taught  alone ;  at  present  the  old 
pronunciation  is  allowed  to  linger  on  side  by  side  with 
the  new.  This  would  not  happen  if  boys  were  trained 
at  the  outset  on  the  new  system,  and  if  it  were  an  under- 
stood thing  that  no  other  pronunciation  was  permitted. 
But  the  lamentable  fluctuation  of  opinion  exhibited  by 
the  schoolmasters  in  their  conference  of  this  year  is  a 


PRELIMINAR  Y  NO  TICE.  vii 

clear  proof,  if  any  proof  were  wanted,  of  the  difficulties 
which  invariably  attend  any  real  reform ;  and  it  becomes 
doubly  incumbent  on  institutions,  which,  like  University 
College,  and  Owens  College,  Manchester,  represent 
enlightened  opinion  irrespective  of  denomination,  and 
which  for  that  reason  necessarily  work  independently, 
to  devote  their  best  energies  to  the  successful  carrying 
out  of  this  apparently  small,  but  in  my  judgment  really 
important,  detail."  —  Transactions  of  the  Philological 
Society,  1873—4,  pp.  398— 9. 

These  remarks  induced  me  to  add  some  observations 
(ibid,  pp.  399 — 407)  in  which  I  dwelt  on  the  practical 
difficulties  of  making  the  change,  and  stated  candidly 
that  though  I  utterly  abhorred  the  old  English  habit  of 
Latin  pronunciation  I  had  been  taught  to  use  at  Shrews- 
bury and  Eton  (1826 — 1833),  yet  that  if  schoolmasters 
sought  success  only  by  written  examinations,  it  was 
hardly  worth  their  while  to  make  the  change.  And,  I 
remarked,  there  was  no  use  in  disguising  the  fact  that 
the  change  to  be  effective  must  be  troublesome.  There 
were  really  no  difficulties  for  English  speakers,  I  ex- 
plained, in  adopting  the  new  sounds  proposed  for  vowels 
and  consonants.  "  The  real  trouble  of  the  new  pronun- 
ciation begins,"  I  emphatically  stated,  "just  where  no 
trouble  is  suspected — in  accent  and  quantity."  I  then 
shewed  that  though,  as  an  Eton  boy,  I  had  been  taught 
to  feel  a  holy  horror  for  "  false  quantities,"  yet  also  as 
an  Eton  boy,  I  had  been  perpetually  making  false 


viii  PRELIMINAR  Y  NOTICE. 

quantities  in  common  with  all  the  Eton  masters  them- 
selves. In  sic  vos  non  vobis  mdificutis  aves,  it  was  usual, 
in  my  day,  to  pronounce  sic  like  English  sick,  non  to 
rhyme  with  on,  vobis  with  the  last  syllable  like  the  first  in 
biscuit,  mdificatis  with  the  syllables  as  far  as  the  a  like 
English  nid" ifica' tion,  and  aves  with  av  as  in  aviary,  so 
that  five  false  quantities  were  made  in  one  short  line. 
Of  course  opus  op'eris,  so'lus  sol'itudo,  and  the  like,  fur- 
nished thousands  of  others.  Since  the  place  of  the 
Latin  accent  is  dependent  on  the  quantity  of  the  last 
syllable  but  one,  in  words  of  more  than  two  syllables,  if 
the  accent  were  placed  right  there,  the  speaker  was  held 
to  have  made  no  "  false  quantities ;  "  and  if  in  his  verses 
he  followed  the  laws  in  his  "  gradus  "  which  were  at  utter 
variance  with  the  custom  of  his  speech,  he  was  also  held 
to  have  made  no  "false  quantities."  That  he  did  not 
pronounce  a  single  vowel  correctly  by  intention,  that  he 
did  not  understand  the  nature  of  long  and  short  vowels 
or  syllables,  or  the  rhythm  that  they  made  in  verse 
(except  as  by  "  gradus  "  aforesaid),  that  he  had  no  con- 
ception of  what  the  nature  of  Latin  accent  was,  and 
that  Latin  as  he  uttered  it  (not  as  he  saw  it)  was  pure 
vox  et  praeterea  nihil,  sound  without  any  sense  at  all  to  a 
Roman's  ears, — of  this  he  had  no  conception  whatever, 
though  in  his  ignorance  he  did  not  hesitate  to  laugh  at 
a  Frenchman's  or  German's  English,  which,  however 
poor,  would  be  at  any  rate  properly  intended,  and  at 
least  intelligible. 


PRELIM1NAR  Y  NO  TICE.  ix 

Having,  in  view  of  opening  this  subject  in  the  address 
already  cited,  made  an  arrangement  with  the  College  of 
Preceptors,  to  give  them  a  paper  on  Latin  Pronunciation 
at  their  monthly  meeting  in  June,  I  purposely  went  into 
this  particular  question  of  Latin  Accent  and  Quantity 
(and  especially  the  latter  as  determining  the  former),  in  a 
practical  paedagogical  paper.  The  chair  was  occupied  by 
the  Rev.  G.  C.  Bell,  Head  Master  of  Christ's  Hospital, 
the  largest  school  in  England  which,  as  previously  men- 
tioned by  Prof.  Robinson  Ellis,  has  adopted  the  new 
sounds  of  the  letters,  and  I  had  an  audience  of  classical 
teachers,  who  during  an  address  of  unexampled  length 
(nearly  two  hours  and  a  half)  listened  with  that  attention 
which  only  great  practical  interest  in  the  subject  could 
command. 

In  revising  this  paper  for  separate  publication,  I  have 
found  it  necessary  to  expand  many  parts,  and  in  especial 
to  add  and  interpret  many  passages  from  Cicero  and 
Quintilian  (the  only  authorities  of  any  value),  and  to  put 
in  a  much  more  complete  form  the  arguments  which  have 
induced  me  to  treat  the  (so-called)  elided  vowels  and 
final  M  in  the  manner  here  advocated.  But  not  to  con- 
fuse the  order  of  the  exposition,  I  have  relegated  much 
of  this  accessory  matter  to  footnotes.  Finally  I  have  en- 
deavoured, as  well  as  it  was  possible  on  paper,  to  convey 
a  conception  of  the  mode  in  which  I  read  the  examples, 
which  form  an  Appendix  at  the  close  of  this  tract.  I 
wish  it  had  been  possible  for  me  to  freeze  up  my 


x  PREL1MINAR  Y  NOTICE. 

utterances  into  some  Munchausen's  postboy's  horn,  so 
that  my  readers  might  have  only  had  to  hang  it  up  in 
the  ingle]  and  hear  the  very  sounds  which  I  have,  I  fear 
often  vainly,  tried  to  convey  on  paper.  But  I  have  given 
such  ample  practical  directions  for  self-practice  that  I 
hope  classical  teachers  and  classical  scholars,  and  lin- 
guists in  general  (for  whom,  and  not  for  pupils,  my  book, 
and  especially  its  notes,  have  been  put  together),  who 
feel  interest  enough  in  the  subject  to  undertake  the 
labour,  will  be  able  to  make  Latin  live  again  in  them- 
selves, and  breathe  its  magic  through  their  own  lips  into 
the  souls  of  their  hearers. 


A.  J.  E. 


June  27,   1874. 
25  ARGYLL  ROAD,  KENSINGTON,  W. 


CONTENTS. 


Preliminary  Notice,  pp.  v.— x. 

I.    Preliminary  Assumptions,  Art.    I — 14,  pp.   I — 1 1. 

Art.  I,  2. — Introductory,  p.  I. 
»     3>  4- — Worthlessness  of  current  pronunciation,  p.  2. 

?j     5_S. — Pre- Augustan,  Augustan,  post- Augustan  periods ;  Augus- 
tan pronunciation  selected,  pp.  2 — 4. 

,,  9,  10 — Pronunciation  of  Letters  assumed,  pp.  4 — 8. 
,,  II. — Latin  accent  consisted  in  change  of  pitch,  p.  8. 
,,  12,  13. — Latin  quantity,  the  foundation  of  rhythm,  pp.  9,  10. 

,,     14. — Latin   had   no   Force-accent.     Note   on  Length,   Force, 
Pitch,  and  Ictus,  pp.  10,  n. 

II.    Elementary  Exercises  on  Quantity,  Art.   15 — 21,  pp.    II — 15. 

Art.  15-17. — Division  of  time,  pp.  n,  12. 
,,     1 8. — Syllabication,  p.  13. 

,,     19. — Pitch  and  Force  as  independent  of  Length,  p.  13. 
,,     20,  21. — "Position,"  pp.  14,  15. 


xii  CONTENTS. 

III.    The  Artificial  Rhythmical  Unit  of  Latin  Speech. 
Art.  22—30,  pp.    15—23. 

Art.  22,  23. — Long  vowels  in  long  Syllables,  pp.  15 — 17. 

,,  23. — Doubtful  vowels  in  long  syllables,  p.  17. 

,,  24-26. — Doubtful  syllables,  pp.  17,  18. 

,,  27. — Short  syllables,  pp.  18,  19. 

,,     28. — Artificial  character  of  the  assumption  that  one  long  syl- 
lable is  equal  to  two  short  syllables,  pp.  20,  21. 

»     29>  3°' — Mode  of  counting  and  marking  long  and  short  syl- 
lables in  this  tract,  pp.  21 — 23. 

IV.  Metrical  Feet  in  Latin   Words,  Art.  31 — 39,   pp.  23 — 26. 

Art.  31. — Simple  and  Compound  Feet,  pp.  23. 

,,  32. — Exercises  on  Pyrrhics,  p.  23. 

,,  33. — On  Iambs,  pp.  23,  24. 

»  34- — On  Trochees,  p.  24. 

,,  35. — On  Spondees,  p.  24. 

,,  36. — On  Dactyles,  pp.  24,  25. 

,,  37. — On  Anapests,  p.  25. 

,,  38. — On  Molossi  and  Choriambs,  p.  25. 

,,  39. — Examples  of  all  kinds  of  feet,  p.  26. 

V.     Elementary  Notions  of   Verse  Rhythm  with   both  Accent  and 
Quantity — Hexameters,  Arts.  40 — 52,  pp.  26 — 35. 

Art.  40. — Temporary  Elisions,  pp.  26,  27. 

,,     41. — Marking  change  of  Pitch,  and  extract  from  Dionysius  of 
Halicarnassus  on  Pitch  Accent,  pp.  27—31. 

,,     42-48. — Effects  in  Hexameters,  pp.  32,  33. 

,,     49. — Effect  of  Caesura,  p.  33. 

,,     50-52. — Final  Cadences,  pp.  34,  35. 


CONTENTS. 


VI.  Slurred  Vowels,  Arts.  53—63,  pp.  35—43. 

Art.  53.  —Open  vowels,  coalescent,  and  gaping,  pp.  35 — 37. 
,,     54. — Spanish  and  Italian  analogies,  pp.  37,  38. 
»     55>  5^- — Examples  of  slurred  vowels  in  Italian  singing,   pp. 

38,  39- 

,,     57. — Unslurred  vowels  in  medieval  Latin,  p.  39. 
,,     58. — Practical  Rules  for  Slurring  Vowels,  pp.  39,  40. 

*>     59}  60. — Accentual  separation  of  words  connected  by  Slurred 
Vowels,  pp.  40,  41. 

,,     61. — Supplement  to  the  Practical  Rules,  pp.  41,  42. 
,,     62. — Slurring  in  Prose,  pp.  42,  43. 
,,     63. — Mode  of  Practice,  p.  43. 


VII.    Treatment  of  Final  M,  Art.  64 — 98,  pp.  43  —73. 

Art.  64. — The  Two  Facts  to  be  accounted  for,  p.  43. 
,,     65. — Double  Latin  pronunciation  of  M,  p.  44. 

,,  66,  67. — Analogues  to  the  custom  of  retaining  one  spelling 
with  variable  pronunciation  according  to  environ- 
ment, in  French  and  Dutch,  pp.  44 — 46. 

,,  68. — The  neglect  of  M  between  two  vowels  was  not  a  pho- 
netic necessity  to  Latins,  p.  46. 

,,  69. — Disappearance  of  final  -en  in  Southern  German  and 
English,  p.  46. 

,,     70. — Quintilian's  "lowing"  final  M,  p.  47. 
,,     71-74' — Treatment  of  final  M  in  inscriptions,  pp.  47 — 50. 
,,     75,  76. — Results  as  to  the  sounds  of  final  M,  pp.  50,  51. 
,,     77. — Modern   analogues   and   contemporary  information,   pp. 
51,  52. 


xiv  CONTENTS. 

Art.  78. — Almost  invariable  omission  of  final  M  in  Spanish  and 
Italian,  p.  52. 

,,  79,  80. — Italian  omission  of  Latin  final  T,  D,  and  treatment 
of  the  open  vowel  thus  created,  pp.  52,  53. 

,,  81. — Indication  of  omission  of  Latin  final  T,  D,  &c.  in  Italian, 
by  doubling  the  following  consonant  in  writing,  pp. 
53,  54- 

,,  82. — Indication  of  omission  of  Latin  final  T,  D,  &c.  in  Italian, 
by  "energising"  or  doubling  the  following  consonant 
in  speech  when  this  is  not  done  in  writing,  pp.  54,  55. 

,,  83. — Probability  that  the  treatment  of  final  M  in  Latin  re- 
sembled that  of  final  T,  D  in  Italian,  p.  55. 

,,  84-86. — Contemporary  evidence  of  assimilation,  Cicero's  cun 
nobis  and  Quintilian's  cun  notls,  and  the  latter's  pho- 
netic theory  for  the  assimilation,  pp.  55 — 58. 

,,     87.— The  half  M  of  Verrius  Flaccus,  pp.  58,  59. 

,,  88. — Critical  Examination  of  Quintilian's  account  of  final  M 
before  a  vowel,  pp.  59 — 63. 

,,  89. — Result,  final  M  omitted  before  a  vowel  in  Augustan 
Latin,  p.  63. 

,,  90. — Monosyllables  in  M  no  exceptions,  pp.  63 — 65. 

,,  91. — General  Rules  for  Treatment  of  final  M,  pp.  65 — 67. 

,.  92-95.— Mode  of  Practice,  pp.  67—70. 

,,  96. — Necessity  of  the  Teacher  "  setting  patterns,"  p.  70. 

,,  97. — Writing  exercises  on  final  M,  pp.  70 — 72. 

,,  98. — How  is  the  presence  of  final  M  to  be  indicated  in  saying 
declensions  and  conjugations  ?  pp.  72,  73. 

VIII.  Elegiac  and  Lyric   Verse  Rhythm,  Arts.  99—106, 
PP.   73-78. 

Art.  99. — First  practice  of  new  metres,  p.  73. 
,,     100. — Choriambics,  pp.  73,  74. 
,,     1 01. — Pentameters,  p.  74. 


CONTENTS.  xv 

Art.  102. — Sapphics,  pp.  74,  75. 
,,     103. — Alcaics,  p.  75. 
,,     104-106. — Iambics,  pp.  75 — 78. 

IX.  Prose  Rhythm,  Arts.    107 — 112,  pp.   79 — 85. 

Arts.    107-109. — Cicero   and   Quintilian   on   Prose    Rhythm,    pp. 
79-81. 

,,     no. — Duty  of  Teacher  to  set   a  pattern   of  reading  prose, 
pp.  81,  82. 

,,     in. — Mode  of  treating  beginners,  pp.  §2,  83. 

,,     112. — How  to  deal  with  the  English  Force  Accent.     Note  on 
Third  Century  Latin  with  Force  Accents,  pp.  83 — 85. 

X.  How  to  Read  Late  Latin,  Art.   113,   114,  pp.  85,  86. 

XI.  Final  Method  of  Reading  Latin,  Art.  115—119,  p.  86—89. 

Art.  115-118. — Precautions  and  Practice,  pp.  86 — 88.. 
,,     119. — How  to  utilise  "repetitions,"  pp.  88.  89. 

XII.  How  to  Read  the  Poetical  Examples  in  the  Appendix, 

Arts.   120 — 131,  pp.  90 — 108. 

XIII.  How  to  Read  the  Prose  Examples  in  the  Appendix, 

Arts.   132 — 138,  pp.   108 — 112. 
Art.  139. — The  Italian  Example,  p.  113. 

XIV.  Conclusion,  Art.  140,  pp.  113  —  115. 


CONTENTS.    - 

Appendix  of  Quantitative  Examples,  pp.  117 — 129. 

Note,  p;  117.  J  *    »'»•>        .J  > '-,  • 

A,  B,  C. — Virgil's  Aeneid,  p.  118,  119. 

D. — Horace's  Satires,  p.  120. 

E,  F. — Horace's  Odes,  p.  120,  121. 

G. — Propertius's  Elegies,  p.  121,  122. 

H. — Ovid's  Heroides,  p.  122. 

I,  K,  L. — Horace's  Odes  and  Epodes,  p.  122,  123. 

M,  N,  O,  P,  Q.— Cicero's  OOrator,  p.  124—127. 

R.— Cicero's  De  OOratore,  p.  128. 

S. — Tasso's  Gerusalemme  Liber ata,  p.  129. 

Index  of  Authors  Cited,  pp.    130 — 132. 


ERRATA. 

p.  8,  /.  4  front  bottom  of  note,  read:  slackening  strings 

p.  27,  /.  14  from  botiom  of  note,  readl  nova-tut] 

P.  46,  /.  i  read:  af*xrand 

/.  46,  /.  10  and  n,  read  :  svave  svdvent 

P-  5°>  I-  S/rom  Bottom,  read:  those  considerations 

P.  51,  /.  5  from  top,  read:  that  m 

p.  66,  /.  i,  read :  inaudible 


QUANTITATIVE    PRONUNCIATION 
OF    LATIN. 

I.    Preliminary  Assumptions. 

ART.  i. — The  object  of  this  book  is  entirely  practical. 
It  is  therefore  necessary  to  make  several  assumptions, 
requiring  for  their  justification  much  detailed  consi- 
deration for  which  reference  must  in  general  be  made 
to  other  treatises.1 

1  Not  only  the  immense  and,  for  scholars,  indispensable  treatise  :  Ueber 
Aussprache,  Vokalismus  und  Betonung  der  Lateinischen  Sprache  von  W. 
Corssen,  2te  Auflage,  Leipzig,  1863,  Vol.  I.  pp.  xvi.  819;  Vol.  II.  pp.  1086,  but 
the  following  more  accessible  English  treatises  : — 

Syllabus  of  Latin  Pronunciation  drawn  up  at  the  request  of  the  Head  Masters 
of  Schools.  Cambridge  and  Oxford,  1872.  8vo.  pp.  7. — A  few  remarks  on  the 
Pronunciation  of  Latin,  with  a  postscript  by  H.  A.  J.  Munro.  Cambridge, 
1871.  8vo.  pp.  36. — A  Grammar  of  the  Latin  Language,  from  Plautus  to  Sue- 
tonius, by  Henry  John  Roby.  Part  I.  ist  edition,  1871,  sm.  8vo.  pp.  xcv.,  476, 
of  which  at  least  150  are  devoted  to  pronunciation.  2nd  edition,  1872,  in  which 
these  remarks  are  enlarged,  with  replies  to  Prof.  Munro's  pamphlet  just  cited, 
etc. — The  Public  School  Latin  Grammar,  for  the  Use  of  Schools,  Colleges,  and 
Private  Students,  by  Benjamin  Hall  Kennedy,  D.D.  2nd  edition,  1874,  pp. 
xxix.,  599,  of  which  at  least  68  pages  are  devoted  to  phonology  and  its  applica- 
tions.—Elements  of  Latin  Pronunciation  for  the  Use  of  Students  in  Language, 
Law,  Medicine,  Zoology,  Botany,  and  the  Sciences  generally  in  which  Latin 
words  are  used,  by  S.  S.  Haldeman.  Philadelphia,  1851.  8vo.  pp.  76. — Latin 
Pronunciation,  an  inquiry  into  the  proper  sounds  of  the  Latin  language  during 
the  classical  period,  by  Walter  Blair,  Professor  of  Latin  in  Hampden  Sidney 
College,  Virginia.  New  York  and  Chicago,  1873.  Svo.  pp.  136,  an  extremely 
useful  Iktle  work  reviewed  in  the  Southern  Magazine,  October,  1873,  by  Pro- 
fessor S  S  Haldeman,  who  refers  also  to — J.  F.  Richardson's  Roman  Orthoepy, 


2  PRELIMINARY  ASSUMPTIONS.      [Art.  2— 5. 

ART.  2. — First,  I  assume  that  sufficient  interest  has 
been  recently  excited  both  theoretically  and  practically  in 
the  question  of  Latin  pronunciation,  to  make  teachers 
and  scholars  willing  to  take  a  good  deal  of  personal 
trouble  to  gain  some  insight  into  its  nature  as  a  living 
reality  and  not  merely  as  a  paper  fiction. 

ART.  3. — I  assume  that  the  utmost  value  which  can  be 
attributed  to  the  current  English  pronunciation  of  Latin 
is,  that  it  serves  rather  roughly  to  recall  to  Englishmen,  and 
no  one  else,  the  letters  with  which  the  words  are  written 
in  ordinary  printed  books. 

ART.  4. — I  assume  that  this  same  current  English 
pronunciation  is  positively  injurious  even  to  Englishmen, 
who  wish  to  understand  the  nature  of  Latin  linguistically, 
its  flexional  and  historical  relations  either  as  descendant 
or  ancestor,  and  its  rhythmical  structure  either  oratorical 
or  poetical. 

ART.  5. — I  assume  that  by  Latin  pronunciation  we 
mean  that  current  among  the  principal  men  of  eminence 
as  statesmen,  philosophers,  historians,  writers,  orators, 
and  poets  during  the  first  century  before  Christ,  the  pro- 
nunciation of  Julius  and  Augustus  Caesar,  of  Maecenas, 
of  Cicero,  Virgil,  and  Horace,  that  is,  the  court  and 
literary  as  distinct  from  the  popular  and  rustic  pro- 
nunciation.1 

a  Plea  for  the  restoration  of  the  True  System  of  Latin  Pronunciation,  New 
York,  1859,  PP-  1J4  '•  —Dr.  L.  Tafel  and  Prof.  R.  L.  Tafel's  Latin  Pronuncia- 
tion and  the  Latin  Alphabet,  1860,  pp.  172,  based  on  Corssen  ;  and  — G.  K. 
Bartholomew's  Grammar  of  the  Latin  Language,  Cincinnati,  1873,  who  adheres 
closely  to  the  ancient  grammarians. 

1  Compare  Cicero's  multitude  in  (N,  2 — 4),  that  is  lines  2  to  4  of  example  N  in 
the  appendix  to  this  tract.  Ultra-Roman  pronunciation  of  course  is  not  to  be 
regarded  here,  although  of  considerable  philological  interest.  The  names  of 
Roman  writers  which  are  anglicised,  as  Virgil,  Horace,  Ovid,  receive  their 
English  sounds,  and  in  accordance  with  them,  we  must  when  speaking  English, 


Art.  6.]  PRELIMINARY  ASSUMPTIONS.  3 

ART..  6. — I  assume  that  this  Augustan  pronunciation, 
as  it  may  be  briefly  termed,  differed  at  least  as  much 
from  that  of  the  preceding  century  (or  pre-Augustan)  as 
the  English  pronunciation  of  Queen  Anne  did  from  that 
of  Queen  Elizabeth  ;  and  that  it  differed  from  that  of 
the  second  and  third  centuries  afterwards  (post-Augustan 
and  transitional)  at  least  as  much  as,  probably  much 
more  than,  Queen  Anne's  from  Queen  Victoria's.1 

talk  of  Cicero  as  Sis'ser-oh,  and  C&sar  as  Seize-ker,  &c.  just  as  we  necessarily  use 
Rome,  Naples,  Venice,  and  Florence  as  English  words,  and  even  without 
changing  the  spelling,  give  completely  English  sounds  to  Calais,  Paris,  Ver- 


'Cgard   LU   -L/ami  names  itiiu    J..AUIII    wurus  citiu   pmubcs   miiuuuucu   IULU   j-jngu^n. 

sentences,  as  we  now  adopt  for  French.  But  just  as  we  should  not  venture 
to  introduce  the  English  Paris,  &c.  into  a  French  sentence,  so  should  we  never 
think  of  reading  one  of  the  superscriptions  of  Cicero's  letters-,  as  if  written  in 
English  letters  Sis'ser-oh  Seize-her-eye  (Cicero  Csesarl). 

1  It  will  be  convenient  to  remember  the  following  dates  in  reference  to  Latin 
pronunciation, 

Pre-Augustan i  Plautus,  B.C.  254 — 184,  Ennius  (a  Calabrian  Greek)  B.C.  239 — 
169,  Cato  Censorinus,  B.C.  234—149,  Terence  (an  African  freedman),  B.C.  195— 
159,  C.  Gracchus  (the  younger  tribune,  see  R,  3),  B.C.  154 — 122,  Lucilius,  B.C. 
148  —103. 

Augustan',  Cicero,  B.C.  106 — 43,  Julius  Caesar,  B.C.  100 — 44,  Lucretius,  B.C. 
95—52,  Catullus,  B.C.  87—47,  Sallust,  B.C.  86—34,  Virgil,  B.C.  70—20,  Horace, 
B.C.  65 — 8,  AUGUSTUS,  B.C.  63 — A.D.  14,  (Phaedrus.  dates  uncertain,  was  his 
freedman), Livy,  B.C.  59 — A.D.  17,  Tibullus,  B.C.  54 — 18,  Propertius,  B.C.  51 — ? 
Ovid,  B.C.  43 — A.D.  18. 

Post-Augiistan:  Pliny  senior,  A.D.  23 — 79,  Silius  Italicus,  A.D.  25 — 100,  Lucan, 
A.D.  39 — 65,  Quintilian,  A.D.  40 — 118,  Tacitus,  A.D.  60? — 118?  Statius,  A.D.  61 — 
96,  Pliny  junior,  A.D.  61 — 105?  Juvenal  and  Suetonius  (close  of  first  century?) 

Transitional,  second  and  third  century  :  Aulus  Gellius,  A.D.  117 — 180,  Teren- 
tianus  Maurus. 

Late,  fourth,  fifth,  and  sixth  century:  Macrobius,  Servius,  Priscian  (gram- 
marians). , 

It  is  thus  seen  that  the  Augustan  period  comprehends  the  most  esteemed  Latin 
authors.  To  Cicero  the  pre-Augustan  writers  were  antiquated.  To  Quintilian 
the  Augustan  writers  were  antiquated.  A  difference  so  apparent  in  the  style  of 
writing  would  naturally  be  accompanied  by  a  difference  ot  pronunciation. 
Cicero  and  Horace  are  our  only  real  authorities  for  Augustan  speech.  Even 
inscriptions  are  not  sufficiently  safe.  Quintilian  is  the  next  best.  Terentianus, 

B  2 


4  PRELIMINARY  ASSUMPTIONS.      [Art.  7— 9. 

ART.  7. — I  assume  that  this  Augustan  pronunciation 
differed  in  almost  every  characteristic  point  from  the 
Victorian  pronunciation  of  English,  and  therefore  also  of 
Latin,  and  that  Englishmen  will  consequently  have  to 
pay  close  attention  and  take  much  trouble  to  obtain  an 
approximate  conception  of  its  nature,  in  theory  and 
practice.1 

ART.  8. — I  assume  also  that  we  are  not  in  a  position 
to  obtain  more  than  a  very  rough  conception  of  its 
details,2  but  even  the  small  results  that  we  can  reach 
are  useful  in  helping  us  on  the  road,  and  are  of 
special  pedagogical  value  as  well  as  of  linguistic  in- 
terest. 

ART.  9  — I  assume  that  so  far  as  the  mere  pronun- 
ciation of  the  isolated  letters  are  concerned,  the  syllabus 
set  forth  by  Professors  Palmer  and  Munro,  would  give 
a  result  nearly  as  intelligible  to  Cicero,  as  an  Italian's,  or 
German's,  or  Frenchman's  attempt  to  pronounce  English, 
when  only  taught  by  books  which  gave  keywords  in 
their  own  languages,  would  be  to  an  Englishman  ;  that  is, 

Maurus,  and  Aulus  Gellius  are  to  be  regarded  with  suspicion,  and  the  late 
grammarians  knew  nothing  of  the  older  pronunciation  but  by  a  tradition  which 
they  could  not  realise. 

1  Classical  teachers  seem  to  have  hitherto  acted  upon  Dogberry's  principle 
that  "to  write  and  read  comes  by  nature,"  (Much  Ado,  3,  3,  16).     French  and 
German  masters  have  to  bestow  much  time  upon  mere  reading.     Are  not  Latin 
and  Greek  also  foreign  languages  to  Englishmen? 

2  I  cannot  too  strongly  insist  upon  this  point.     Even  after  months  spent  in 
Paris  with  French  in  the  air  all  round,  very  few  Englishmen  are  able  to  obtain 
more  than  a  rough  conception  and  indifferent  execution  of  a  pronunciation  so 
utterly  different  from  their  own.    Latin  was  at  least  as  different,  and  yet  we  have 
to  grub  it  up  from  passing  remarks  made  by  writers  two  thousand  years  old  to 
others  who,  owing  to  their  own  habits  of  speech,  knew  .what  they  meant  by  a 
mere  allusion,  and  to  piece  these  remarks  together  into  some  sort  of  a  practical 
and  practicable  whole.     The  wonder  is,  not  that  our  results  are  rough,  but  that 
they  are  complete  enough  to  be  usable. 


Art.  9,  10.]     PRELIMINAR  Y  ASSUMPTIONS.  5 

not  quite  so  good  as  a  Scotsman's  English  in  a  Lon- 
doner's ears,  but  still  an  infinite  advance  on  the  current 
English  pronunciation  of  Latin,  for  that  would  have  un- 
doubtedly been  mere  gibberish  in  the  ears  of  Augustan 
Romans. 

ART.  10. — Being  obliged  to  assume  some  kind  of  a 
pronunciation,  I  shall  therefore  give  the  vowels  a,  e,  i,  o, 
u,  their  sounds  as  heard  in  London  in  father,  th^re, 
mach/ne,  b0re,  n/le,  but  keep  them  pure  when  they  be- 
come short,  exactly  as  in  modern  Spanish,  and  never 
allow  the  long  sounds  of  e,  o  to  become  diphthongal  by 
the  appendage  of  an  i  and  u  sound,  as  in  English  say,  so, 
often  called  sei,  sou.  The  diphthongal  forms  ae,  oe,  I  shall 
render  by  a  broader  e,  like  the  German  a  in  sprdche. 
The  diphthong  eu  will  be  like  that  heard  for  ow  in  Kent, 
and  often  in  London,  albw  me  now;  beginning  with  e  in 
there,  while  au  will  begin  with  a  in  father,  as  in  German 
haus ;  both  end  with  u  in  rule.  And  ui  will  be  much 
like  ooi  in  cooing,  but  monosyllabic.1  The  letters  /,  u, 
when  forming  a  consonant,  I  shall  treat  as  English  y,  and 
German  w.  The  latter  is  produced  by  sounding  v 
without  allowing  the  lower  lip  to  touch  the  upper  teeth.2 

1  The  relative  qui  =  qu  +  /  has  become  chi  (pronounced  ki)  in  Italian,  but  cni 
=  c-ui,  or  qu-ui,  ancient  QVOEI,  has  remained  cut  (nearly  cu-i)  in  Italian.     Did 
Quintilian  distinguish  the  sounds  (i,  7,  27)  ? 

2  Using  if  for  this  German  sound,  TV,  v  for  the  English  sounds,  and  u  for  th 
pure  Latin  vowel  u  run  on  as  a  diphthong  to  the  next  vowel,  any  one  who  wishe 
to  arrive  at  a  conclusion  respecting  the  Latin  consonantal  v,  must  learn   t 
pronounce  and  distinguish  readily,  the  four  series  of  sounds  :  ua  ue  ui  uo,  wa  w 
wi  wo  wu,  v'a  v'e  v'i  v'o  v'u,  va  ve  vi  vo  vu.     These  sounds  were  pronounced  t 
the  audience  when  the  paper  was  read  on  which  this  tract  is  founded.     Observ 
that  iiu  was  impossible  as  Quintilian  observes,  who  assumes  the  Eolic  digamm 
as  the   sound:   in  his  seruus  et  uulgus  Aeolicum   digammon    deslderatur  »i, 
4,  8) ;  nostrl  praeceptores  seruum  ceruumque  U  et  O  litterls  scripserunt,  quia 
subjecta  sibi  vocalis  in  unum  sonum  coalescere  et  confundl  nequlret  ;  nunc  U 
gemina  scrlbuntur  ea  ratione  quam  reddidl ;  neutro  sane  modo  vox,  quam  sentl- 


6  PRELIMINARY  ASSUMPTIONS.          [Art.  10. 

The  letters  c,  g  will  always  have  their  so-called  "  hard  '; 
sounds  in  sceptic,  get*  H  initial  will.be  taken  nearly  as 
in  English,  especially  when  sung,  that  is  with  its  jerk 
without  its  hiss.2  After  a  consonant  as  in  th,  ch,  pit,  h 
will  be  simply  neglected.  Qu  will  be  treated  pre- 
cisely as  in  English,  that  is,  as  a  single  letter,  phonetically 
a  labialised  k.  T,  D  will  also  receive  their  English  sounds, 

mus,  efficitur  ;  nee  inutiliter  Claudius  Aeolicam  illam  ad  hos  usus  litteram  adje- 
cerat  (i,  7,  26).  My  own  belief  is  that  in  the  oldest  form  of  the  language 
z',  it  were  always  vowels,  which  initially  diphthongised  with  the  following  vowel  as 
la.)  ua,  and  that  this  stage  was  recognised,  at  least  in  writing,  as  long  as  zz,  7/?/, 
we  e  replaced  by  z,  ui,  but  that  when  zz',  uu,  (or  as  we  usually  write,  and  as  will 
here  be  always  written,  ji,  vu]  were  employed,  the  sounds  were  those  of  German 
/,  w.  I  have  more  doubt  about  /  than  v.  It  is  probable  that  the  real  Augustan 
pronunciation  hovered  between  uo,  v'u,  but  as  Quintilian  adopts  the  latter  (if,  as 
many  think,  the  digamma  which  he  knew,  to  say  nothing  about  Homer's,  was  z/'). 
I  shall  use  it  a.i  being  nearer  to  our  old  habits.  I  do  not  think  English  w  was 
ever  used  In  modern  Italian :  uomo,  uovo,  have  uo  not  ivo.  The  vowel 
character  of  z',  u  was  perhaps  never  lost  after  a  consonant.  Thus  in  the  Benares 
pronunciation  of  Sanscrit  although  y,  v,  initial  have  their  regular  English  values, 
(v  with  the  teeth),  yet  after  consonants  they  remain  the  pure  Latin  vowels  /,  u, 
though  still  written  as  y,  v,  to  shew  that  they  do  not  form  distinct  syllables. 
Such  double  forms  as  :  ab-jete  abi-ete,  fluv-jo'rum  fluvi-o'rum,  could  scarcely 
have  arisen  from  other  habits.  They  are  quite  similar  to  ;  a-erri,  ag-rl,  hereafter 
considered. 

1  The  following  well-known  passage,  justly  insisted  on  by  Prof.  Blair,  seems  to 
have  been  too  much  overlooked* in  the  warm  controversy  on   this   subject  :  it 
surely  conclusively  shews  that  Quintilian,  at  least,  pronounced  C  with  the  same 
sound  before  all  vowels :  nam  K  quidem  in  nullis  verbis  utendum  puto,  nisi  qua; 
significat,  etiam  ut  sola  ponatur  ;  hoc  eo  non  omisT,  quod  quldam  earn,  quotiens 
A  sequatur,  necessarian!  creclunt,  cum  sit  C  littera,  quae  ad  omnes  vocales  vim 
suarn  perferat,   (r,  7,    10).     C  of  course  determines  G.     As  to  S,  the   English 
z  sound  has  only  been  "developed"  in  French  and  Italian,  and  has  not  yet 
touched  Spanish.     It  was  unknown  to  Greek,  and  though  in  modern  times  the 
f,  (originally  zd  ?)  has  drifted  into  z,  a  remains  as  s. 

2  This  effect  is  produced  by  bringing  the  vocal  chords  together  so  that  they 
should  be  ready  to  emit  the  vowel  sound  immediately,  and  should  not  allow  un- 
vocalised  breath  to  precede,  by  not  holding  them  too  tightly  together,  and    by 
driving  the  breath  through  them  at  first  with  a  little  impulsion  of  the  muscles  of 
the  lungs.     All  this  is  easily  imitated  by  opening  a  valve  and  jerking  slightly  the 
bellows  of  an  accordion  or  concertina,  so  as  to  make  the  commencement  of  the 
note  louder  than  what  follows.     Of  course  it  is  impossible  on  such  an  instrument 
to  produce  the  effect  of  H  in  any  other  way.     See  (Art.  51)  note. 


Art.  10.]  PRELIMINARY  ASSUMPTIONS.  7 

though  it  scarcely  admits  of  doubt  that  these  were  as  un- 
known to  the  Latins,  as  they  are  now  to  most  Europeans. 
But  these  sounds  are  most  easy  to  English  organs,  and 
Englishmen  sometimes  reside  for  years  on  the  continent 
without  perceiving  the  difference,  or  live  years  in  India, 
(where  both  sounds  are  used,  and  help  to  distinguish 
words,)  without  knowing  anything  about  it,  as  probably 
Cicero  would  have  known  at  once.1  S  will  also  be 
always  "  hard  "  like  ss  in  hiss.  R  will  always  be  strongly 
trilled ;  to  which  un-English  but  common  Scotch 
fashion,  great  attention  must  be  paid.  Final  M  will 
be  fully  treated  later  on.  The  foreign  y,  I  shall 
generally  treat  as  /",  perhaps  Cicero  made  it  the 
French  u9  for  he  seems  to  have  been  fond  of  a  bit  of 
Greek  (O,  9),  and  he  may  have  called  z  either  dz  or 
zd,  but  this  is  a  mystery.  Had  I  occasion  to  use  it  in 
Latin  I  should  say  dz,  for  that  is  still  heard  in  Italian, 
but  the  letter  occurs  only  in  Greek  words,  where,  owing 
to  the  Greeks'  apparent  absence  of  power  to  say  TO  and 
their  fondness  for  or,  the  combination  zd  appears  more 
probable  than  dz. 

It  is  not  to  be  concluded  that  I  consider  these  sounds 
to  be  perfectly  correct  or  even  justifiable  by  any  authori- 
ties which  can  be  cited.  On  the  contrary,  it  is  probable 
that  many  exceptions  occurred,  and  many  slight  distinc- 

1  All  Indians  recognise  the  English  T,  D,  as  their  own  cerebrals,  and  the 
French,  Italian,  and  general  European  T,  D,  as  their  dentals.  For  the  dental, 
the  tongue  is  pressed  against  the  teeth  as  for  the  two  English  TH.  In  Cum- 
berland, Yorkshire,  and  Derbyshire,  at  least,  if  not  elsewhere  in  England,  these 
dental  T,  D,  are  heard  in  connection  with  R,  as  TR-,  DK-,  or  -TER,  -DER, 
and  are  often  confounded  with  the  two  TH  by  Southerners.  The  Irish  version  of 


speec 

English  Pronunciation,  Part  IV.  (in  the  press). 


8  PRELIMINARY  ASSUMPTIONS.     [Art.  10, 1 1. 

tions  prevailed  among  Augustan  literary  men  of  which 
we  can  form  no  adequate  conception.  But  these 
rough  approximations  will  piobably  suffice  for  all  school 
purposes. 

ART.  ii. — I  assume  that  the  Latin  accent  consisted 
solely  in  raising  or  depressing,  or  in  first  raising  and  then 
depressing  the  musical  pitch  of  the  voice  at  which  a  given 
syllable  was  uttered,  and  that  this  use  of  the  acute,  grave, 
and  circumflex  inflexions  of  voice  respectively  was  quite 
independent  of  the  loudness  of  tone,  and  (except  as  regards 
the  third  or  circumflex  accent)  of  the  length  of  tone, 
although  the  determination  of  the  precise  syllable  on 
which  it  immovably  occurred  in  every  word  of  more  than 
one  syllable,  did  depend  on  the  length  of  that  syllable  or 
on  the  length  of  the  adjacent  syllables,  as' we  shall  see. 
The  law  of  this  relation  was,  however,  different  in  Latin 
and  in  Greek,  and  there  is  nothing  exactly  corresponding 
to  it  in  any  European  language.  The  nearest  approach  to 
the  sound  of  the  Latin  accent  is  now  found  in  Swedish 
and  Norwegian,  but  the  laws  of  its  use  are  quite  differ- 
ent. I  assume,  therefore,  that  the  relative  pitch  of  every 
syllable  in  every  Latin  word,  was  fixed,  so  far  as  higher 
and  lower  was  concerned,  that  is,  that  it  never  varied  in 
position  in  whatever  part  of  a  sentence  the  word  was 
used,  and  that  this  position  depended  on  the  length  of 
the  syllables  (M.  3 — 5).1 

1  This  is  the  only  result  at  which  I  can  arrive  after  very  careful  study.  The 
expressions  of  Cicero  seem  all  to  point  to  "  acuta  vox  "  meaning  a  high  pitch  of 
voice,  and  "gravis  vox"  a  low  pitch,  independently  of  loudness.  The  terms 
"intendens,  contentio,"  from  tightening  strings,  and  "remittens,  remissio,"  from 
slackening  springs,  point  the  same  way.  The  extreme  confusion  that  prevails  in 
the  use  of  the  words  "  raising  and  lowering  the  voice,"  as  speaking  either  at  a 
higher  and  lower  pitch,  or  else  with  greater  and  less  loudness,  renders  almost 
all  that  is  usually  said  ambiguous.  Thus  when  Mr.  Roby  says  :  "  Accent  is  the 


Art.  1 2. ]          PRELIMINAR  Y  ASSUMPTIONS.  9 

ART.  12. — Next,  reserving  the  nature  of  length  for 
close  consideration  presently,  I  assume  that  long  and 
short  syllables  were  invariably  and  carefully  heard  and 
distinguished,  so  that  any  error  was  instantly  felt  and 
detected, — as  it  would  often  make  nonsense  as  :  mala 
mala,  just  as  a  wick  pool  would  probably  not  be  under- 
stood if  said  for  a  weak  pull — that  it  was  the  main-stay  of 
rhythm  both  in  prose  and  verse,  so  that  no  rhythm  was 
possible  to  an  Augustan  Roman  which  did  not  observe 
it,  and  that  no  rhythm  was  pleasant  which  did  not  make 
the  relative  positions  of  long  and  short  distinct.  (N.1 
O.  P.  generally). 

elevation  of  the  voice  with  which  one  syllable  of  a  word  is  pronounced,"  either 
kind  of  elevation  might  be  meant,  though  mere  increase  of  loudness  is  rendered 
probable,  not  certain,  by  what  follows,  "  in  comparison  with  the  more  subdued 
tone  with  which  the  other  syllables  are  pronounced,"  (Grammar  §  296).  Corssen's 
remarks  on  Latin  "betonung"  (n.  794 — 892),  are  unhappily  one  mass  of  con- 
fusion from  this  cause.  Hence  I  have  been  extremely  careful  in  my  own  lan- 
guage. It  is  I  find  almost  impossible  to  get  any  intelligible  account  of  accentua- 
tion in  any  living  language  from  any  living  speaker,  so  little  has  the  subject  been 
studied  ;  nor,  although  I  have  thought  upon  it  much  and  have  observed  speakers 
often,  am  I  yet  able  to  come  to  any  definite  conclusion  upon  the  nature  of  what 
is  usually  called  accent  even  in  French  and  English.  The  later  Latin  gram- 
marians, such  as  Priscian,  had  no  real  knowledge  of  what  was  meant  by  quantity 
and  pitch  accent,  which  had  become  quite  as  obsolete  and  traditional  in  their 
day  as  in  our  own.  For  details  on  this  subject,  see  my  paper  on  "the  Physical 
Constituents  of  Accent  and  Emphasis,"  Transactions  of  the  Philological  Society 
for  1873—74,  pp.  113—164. 

1  In  my  paper  on  Accent  and  Emphasis  (just  referred  to)  I  had  originally  read 
una  syllaba  in  (N  i)  as  a  nominative.  Mr.  Roby  kindly  pointed  out  to  me  that 
it  is  probably  an  ablative,  and  should  be  read  itnd  syllaba.  After  re-reading  the 
whole  context, .  I  entirely  agree  with  him.  Cicero  in  §§  170 — 173,  is  speaking 
about  rhythm  generally,  and  mentions  Aristotle's  rule,  "is  igitur  versum  in 
oratione  vetat  esse,  numerum  jubet,"  610  pv#p&v  6el  exeiv  TOV  Xofuv.  /uerpoi/  3e  /i>/' 
Troika  ^ap  carat,  and  after  referring  to  Theodectes,  and  Theophrastus,  proceeds 
to  say  :  "  who  would  put  up  with  pe.ople  that  disapprove  of  what  these  authors 
say,  unless\they  were  ignorant  that  these  authors  had  said  it?  Now  if  this  is  the 
disc,  (and  I  think  it  is)  because  they  are  not  influenced  by  their  own  senses,  have 
they  no  feeling  of  imperfection,  of  want  of  finish,  of  mutilation,  of  lameness,  of 
redundancy?  Why  [here  the  extract  in  N  begins]  the  whole  audience  in  a 
theatre  would  cry  out  if  a  verse  were  shortened  or  lengthened  by  a  single 


io  PREL1MINAR  Y  ASSUMPTIONS.     [Art.  13, 14. 

ART.  13. — I  assume,  however,  that  rhythm  did  not  de- 
pend solely  on  the  length  of  syllables,  though  the  laws 
of  versification  have  apparently  no  other  basis,  but  that 
the  position  of  the  pitch  accent  or  highest  pitch  of  the 
voice,  in  a  word,  was  also  operative,  and  that  it  was  to 
secure  variety  here  that  the  laws  of  caesura  in  Latin  verse 
were  gradually  developed. 

ART.  14. — Lastly  I  assume  that  the  Augustan  Romans 
had  no  force  accent,  that  is,  that  they  did  not,  as  we  do, 
distinguish  one  syllable  in  every  word  invariably  by 
pronouncing  it  with  greater  force,  that  is,  with  greater 
loudness  than  the  others,  but  that  the  force  varied  ac- 
cording to  the  feeling  of  the  moment,  or  the  beat1  of  the 

syllable.  And  yet  the  common  people  know  nothing  of  feet,  nor  observe  any 
rhythm,  nor  have  any  idea  what  offends  them,  or  why,  or  in  what  particular  it 
offends  them.  But  nature  herself  has  put  into  our  ears  the  power  to  appreciate 
(judicium)  all  long  and  short  quantities  in  sounds,  and  rising  or  falling  inflec- 
tions in  speech."  This  is  the  only  consistent  interpretation  which  I  can  put  on 
the  last  sentence,  and  this  fully  bears  out  what  I  have  said  in  the  text. 

1  Barred  music  (quite  a  recent  invention,  arising  from  the  discovery  of  poly- 
phony, or  the  power  of  singing  several  melodies  by  different  voices  at  once 
without  creating  confusion,  a  thing  unknown  to  the  ancients)  depends  upon 
exactly  equal  intervals  of  time  regulated  by  the  beat  of  the  conductor's  baton 
or  foot,  and  it  is  a  rule  that  the  note  played  to  the  first  beat  in  a  bar,  should  be 
slightly  louder  than  that  on  the  third,  and  this  again  louder  than  that  on  the 
second  (in  both  triple  and  common  time),  which  should  itself  again  be  generally 
slightly  louder  than  that  on  the  fourth  (in  common  time).  But  this  comparative 
loudness  which  forms  the  undercurrent  of  rhythm  and  helps  to  "  mark  the 
time,"  though  very  conspicuous  in  dance  music  and  marches,  is  constantly  over- 
ruled by  the  laws  of  forte  and  piano,  staccato  and  legato^  just  as  the  precision  of 
the  length  of  the  intervals  is  overruled  by  the  directions  accelerando  and  len- 
tando.  Now  there  may  have  been  such  an  ictus  in  Roman  verse,  but  it  was 
often  not  at  regular  intervals  as  we  shall  see  (Art.  105)  and  it  certainly  never  over- 
ruled, (as  in  our  music  also  it  never  overrules)  the  musical  pitch  and  length,  or 
even  the  emphatic  loudness  of  individual  notes.  Let  the  English  reader  then 
who  knows  music,  remember  that  ictus  can  only  apply  to  the  conductor's  beats  or 
the  interval  between  two  of  them  ;  that  such  intervals  were  not  necessarily  of  the 
same  length  (owing  to  introduced  lentando's)  :  that  q^lantity  answers  to  the 
time  of  duration  of  any  note  (as  crotchet  or  quaver)  ;  and  accent,  in  Latin,  to 
the  alterations  of  pitch  by  ascending  or  descending  the  musical  scale,  this  being 


Art.  14,  15.]      EXERCISES  ON  QUANTITY.  n 

timekeeper  in  singing,  and  was  used  for  purposes  of 
expression  ;  just  as  with  us,  musical  pitch  is  free,  that  is, 
just  as  we  may  pronounce  the  same  word  with  different 
musical  pitches  for  its  different  syllables,  and  in  fact  are 
obliged  to  vary  the  musical  pitch  in  interrogations  and 
in  replies.  The  fixity  of  musical  pitch  and  freedom  of 
degrees  of  force  in  Latin,  and  the  freedom  of  musical 
pitch  and  fixity  of  degrees  of  force  in  English,  sharply 
distinguish  the  two  pronunciations  even  irrespective  of 
quantity. 


II.  Elementary  Exercises  on  Quantity.    . 

ART.  15. — Having  by  these  assumptions  cleared  the 
way  for  work,  I  shall  endeavour  to  develop  the  feeling 
for  Latin  quantity  or  syllabic  length,  and  Latin  accent  or 
comparative  pitch  by  suggesting  a  graduated  series  of 
exercises  which  shall  lead  up  finally  to  reading  Latin  in 
its  own  rhythm,  with  due  regard  to  sense.  I  shall  not 
actually  give  all  the  exercises  at  length  but  rather  hint  at 
the  paedagogical  process  than  carry  it  out,  as  any  teacher 
will  be  immediately  able  to  do  so  for  himself.  But  as  an 
additional  assistance  I  shall  state  the  intention  of  each  step, 
which  of  course  must  remain  a  secret  to  the  pupil.  The 

determined  by  the  number  and  length  of  the  syllables  of  the  word  sung  (just  as 
if  when  several  were  combined  in  one  word,  and  the  last  but  one  was  a  quaver, 
the  others  being  semi-quavers,  the  quaver  should  have  the  highest  pitch)  ;  while 
force  answers  to  the  forte  and  piano.  Hence  all  four,  ictus  (or  beat),  quantity 
(or  length),  accent  (or  pitch)  and  force  (or  loudness)  are  naturally  independent 
of  each  other,  although  habitually  they  may  be  made  dependent  one  on  another, 
or  several  of  them  upon  something  else  (as  a  musical  or  intellectual  conception). 
Latin  accent  consists  in  fixing  the  syllable  of  a  word  which  should  have  the 
highest  pitch ;  English  accent  consists  in  fixing  the  syllable  of  a  word  which 
should  have  the  greatest  force. 


12  ELEMENTARY  EXERCISES     [Art.  15—17. 

case  presumed  is  that  which  is  at  present  most  common, 
where  a  school  teacher  who  wishes  .o  instruct  his  higher 
class  of  pupils  that  can  already  translate  Latin  with 
tolerable  ease,  but  have  hitherto  used  the  English  bar- 
baric pronunciation,  or,  having  accepted  the  new  method, 
have  not  sufficiently  realized  the  action  of  varied  length 
and  varied  musical  pitch,  upon  the  values  of  the  letters. 
When  the  pupil  is  altogether  ignorant  of  Latin,  the  case 
is  slightly  different,  and  perhaps  easier,  for  he  has  no  bad 
habits  to  unlearn,  and  will  be  considered  hereafter. 

ART.  1 6. — To  develop  the  feeling  for  division  of  time. 
Use  a  pendulum  swinging  about  four  times  in  a  second.1 
Class  say  la !  la !  &c.  once  to  each  swing  in  chorus,  then 
la  !  lala !  la!  lala  !  one  la !  for  the  first,  and  two  for  the 
second  swing.  Then  la-a  !  la  !  la  !  la-a  !  la  !  la  !  keeping 
the  la-a  !  two  swings,  and  so  on.  Try  the  same  exercise 
with  all  the  vowels  in  succession  (sounds  as  in  Art  10,  of 
course),  and  without  any  consonant.  Shorten  string  of 
pendulum  to  about  3  inches  and  try  again.2 

ART.  17. — Take  the  vowels  in  any  line  of  Virgil 
and  pronounce  the  short  (one  swing)  and  long  (two  swings) 
without  consonants ;  thus  A,  2  gives  eioeiieeodii 
add,  where  the  line  over  the  vowel  signs  indicates  a  long 
vowel.  Repeat  the  exercise  without  pendulum.  Make 


1  Take  a  yard  of  sewing  thread  and  tie  the  ends  ;  pass  it  through  and  over  the 
loop  of  a  common  key.     This  makes  a  pendulum  which  answers  every  purpose. 
By  shortening  the  string  when  held  between  the  fingers,  any  degree  of  rapidity 
can  be  obtained  ;  between  9  and  10  inches  of  length  gives  quarter  seconds. 

2  More  complicated  divisions  of  time,  as  in  music,  are  not  needed.    The  method 
of  giving  instruction  in  that  case  has  been  well  developed  from  a  French  model 
by  the  Tonic  Solfaists,  see  :  The  Standard  Course  of  Lessons,  and  Exercises  in 
the  Tonic  Sol-fa  method  of  teaching  music  by  John  Curwen,  edition  of  1872,  pp. 
160,  see  pp.  7,  8,  18 — 20,  &c.  under  taa-tai-ing. 


Art.  17—19.]  ON  QUANTITY.  13 

the  class  feel  at  least  an  appreciable  difference  of  length. 
Continually  increase  speed. 

To  shew  the  slight  effect  of  an  initial  consonant,  try 
the  same  exercises  with  different  initials  /,  b,  /,  d,  c, 
g,f,  s,  r,  I,  m,  11,  j,  v,  h.  Take  care  in  saying  pe,  pi,  po, 
pe,  pu,  to  run  the  consonant  on  to  the  following  vowel, 
and  avoid  running  the  vowel  on  to  the  following  con- 
sonant. 

ART.  1 8. — The  nature  of  syllabication  has  now  to  be  de- 
veloped. This  consists  in  the  running  of  a  consonant  on 
to  a  vowel,  by  a  glide,  and  of  the  vowel  by  another  glide 
on  to  the  following  consonant.  Both  glides  may  be 
indicated  by  proximity  of  the  letters.  In  saying  pe  pi, 
guard  against  pe  pi  (long  vowels,) /*/z  (second  vowel  long, 
second  p  gliding  on  to  both  vowels),  pepi  (both  vowels 
short,  glide  as  before).  Develop  the  feeling  of  each  as 
distinct  from  the  other.  In  pepi  observe  that  even  less 
time  is  lost  between /£  and//  than  \&pepi. 

ART.  19. — To  develop  feelings  of  pitch  and  force  as  in- 
dependent of  length.  Represent  raised  pitch  by  an  acute 
accent  ('),  increased  force  by  a  turned  period  (•) ;  lowered 
pitch  and  diminished  force  are  not  specially  represented. 
The  reader  is  particularly  requested  not  to  confound  the 
acute  accent  (mark  of  raised  pitch)  with  the  turned 
period  (mark  of  increased  force),  and  to  remember  that 
they  are  totally  distinct  (Art.  14).  In  the  well-known 
song  non  piu  andrai*  farfallo*ne  amoro*so,  the  loudest 
and  longest  notes  are  given  to  the  syllables  preceding  the 
*,  but  each  of  these  is  lower  in  pitch  than  the  pre- 
ceding syllable.  Distinguish/^//  (uniform  length,  pitch, 
and  force),  pe  pi,  pe  pi,  (both,  uniform  force),  pe'  pi, 
pe  pi',  pc  pi.  pe  pi',  (all  with  short  vowels,  and  without 


14  EXERCISES  ON  QUANTITY.        [Art.  19,  20. 

running  the  vowels  on  to  the  consonants).  Vary  as  p'e  i, 
pet,  e  pi,  epi,  p'e  i,  e'pi,  &c.  Then  distinguish  pe'pi, 
pe'pi,  pe'pi,  pe'pi,  and  so  on,  where  p  glides  on  to  both 
vowels.  Vary  with  all  the  consonants.  This  exercise 
requires  great  practice  to  obtain  ease  and  certainty  of 
execution.  Write  on  blackboard  and  make  whole  class 
follow.1  The  final  rising  pitch  does  not  occur  when 
both  syllables  belong  to  the  same  word  in  Latin,  but  it 
constantly  occurs  when  the  syllables  are  distributed 
between  two  words. 

ART.  20. — To  develop  the  effects  of  "position"  First 
take  doubled  consonants.  Distinguish  accurately  be- 
tween pepi  (as  in  pepper),  and  peppi  (as  in  dee/  /ool). 
The  form  p'epi  is  not  Latin  but  English,  peppi  is  rare  in 
English,  except  in  compounds  or  between  words  and 
frequent  in  Latin,  even  within  the  same  words.  Com- 
pare English  pity,  city,  silly  (only  one  /heard),  and  pu/  fo 
it,  se/  /o,  the  grea/f  foe  is  grea/er,  we  /ie,  (one  / ),  we'//  /ie 
(two  /s),  ti//  eight  (one  /),  ti///ate  (two  /s),  pe;//£vnfe  (two 
;zs),  pe;/;;y  (one  ;/).  Thou  slee/est,  thou  slee/-/est!  Missy 
mu-^ent: — u;//£;/own  and  unowned  !  Latin  a;^-;zus,  to/-/ it, 
e^e  ter-ra.  The  effect  is  the  same  as  that  of  doubled 
consonants  in  Italian.  It  is  difficult  for  an  English  organ 
to  acquire  when  not  occurring  in  compound  words.  The 
doubled  r  as  in  terra  is  particularly  difficult  for  English 
speakers,  and  should  be  well  practised.  No  relaxation 
of  the  organs,  no  puff  of  wind  or  grunt  of  voice  should 
intervene  between  the  two  parts  of  a  doubled  consonant, 

1  The  following  direction  is  of  the  utmost  importance.  "  The  teacher  never 
sings  [speaks]  with  his  pupils,  but  sings  [utters,  reads,  dictates]  to  them  a  brief 
and  soft  pattern.  The  first  art  of  the  pupil  is  to  listen  well  to  the  pattern,  and 
then  to  imitate  it  exactly.  He  that  listens  best,  sings  [speaks]  best."  Curwen's 
Standard  Course,  p.  3.  See  also  (Art.  96). 


Art.20— 22.]  ARTIFICIAL  RHYTHMICAL  UNIT.  15 

which  should  more  resemble  separated  parts  of  one  arti- 
culation than  two  separate  articulations.1 

ART.  21. — Next  take  two  consonants  not  forming  an 
initial  combination.  The  Latins  had  not  the  power  we 
have  of  combining  many  consonants.  Final  consonants 
were  always  well  developed,  and  there  was  sensible  rather 
than  perceptible  pause2  before  beginning  a  new  syllable 
with  a  second  consonant.  Make  this  clear  by  a  hyphen 
in  writing,  as  is  uniformly  done  in  the  Appendix.  Try 
imaginary  words  as  pep-si*  pep-si'  (varying  force  and 
pitch).  Initial  Latin  combinations  consisted  of  /,  &,  t, 
d,  c,  g,  followed  by  either  r  or  /  (//,  dl  are  not  used  in 
Latin,  and  dr  is  rare)  and  sometimes  n  and  s  or  preceded 
by  s,  or  rarely  both.  In  all  these  cases  the  vowel  might 
(within  the  word)  be  always  run  on  to  the  first  consonant, 
as  pcp-ri,  or  not  run  on  as  pe-pri.* 

III.   The  Artificial   Rhythmical  Unit  of  Latin 
Speech. 

ART.  22. — The  preceding  studies  are  on  natural  quan- 
titative rhythm,  the  following  are  on  the  form  they  have 
assumed  in  Latin  itself.  A  Latin  syllable  is  to  be  con- 
sidered to  end  in  its  vowel  when  this  is  possible,  and  is  | 
then  called  open.  The  length  of  time  occupied  by  the 
preceding  consonants  is  disregarded,  even  when  there  are 

1  Duplication  of  consonants  is  consequently  regarded  simply  as  the  energetic 
utterance  of  a  single  consonant,  as  will  be  subsequently  explained.     It  plays  a 
great  part  in  all  quantitative  languages  as  Sanscrit,  Persian,  Arabic. 

2  That  is,  one  rather  felt  by  the  speaker  than  the  hearer,  not  quite  amounting  to 
Quintilian's  unbecoming  pause  (Art.  85). 

3  Of  course  the  vowel  might  be  either  long  or  short  in  this  case,  as  pefi-ie, 
But  the  former  usage  seems  confined  to  poetry  (Art.  24)  and  the  latter  is  doubtful. 


1 6  ARTIFICIAL  RHYTHMICAL  UNIT.       [Art.  22. 

two  or  three  as  sta-,  scrl-.  The  syllable  ending  in  a 
vowel  is  considered  to  be  long  or  short  according  as  the 
vowel  it  contains  is  long  or  short,  and  as  this  length  is 
not  marked  in  Latin  books,  a  knowledge  of  it  has  to  be 
acquired  for  each  individual  word.  This  is  a  task  ab- 
surdly difficult  for  learners,  and  all  Latin  books  now 
printed,  whether  for  school  or  other  purposes,  and  not 
merely  dictionaries  and  graduses,  ought  to  have  the 
vowels  which  specialists  (often  with  great  difficulty)  have 
ascertained  to  be  long,  properly  distinguished  by  the  sign 
of  length.  When  the  schoolboy  makes  a  mistake  here, 
it  is  the  editor,  not  the  boy,  that  should  be  punished. 
The  editor  ought  to  have  known,  and  the  boy  trusted  the 
editor.  But  all  of  us,  big  or  little,  are  foreigners  (Art. 
7),  and  have  no  knowledge  of  the  word  but  what  its 
letters  give  us,  and  hence  we  should  be  always  properly 
treated  by  editors.  The  orthography  used  in  printed 
Latin  books  is  notoriously  not  that  of  their  writers. 
Hence  there  is  no  objection  to  this  little  improvement.1 

1  Quintilian  as  a  Roman  knowing  words  by  ear,  finds  that  it  is  below  a  gram- 
marian's dignity  to  determine  what  letters  should  be  used  in  a  word  except  in 
rases  of  doubt:  recte  scribendi  scientiam — cujus  ars  non  in  hoc  posita  est,  ut 
noverimus  quibus  quasque  syllaba  litteris  constet  (nam  id  quidem  infra  gram- 
naatici  ofncium  est)  sed  totam,  ut  mea  fert  opinio,  subtllitatem  in  dubiis  habet 
(i,  7,  i).  Hence  he  finds  it  supremely  foolish  to  put  the  long  mark  on  all 
long  syllables,  but  admits  that  it  is  necessary  to  know  an  appletree  (malus)  from 
a  bad  man  (malus),  a  post  (palus)  from  a  marsh  (palus),  [by  the  bye,  if  the  reading 
is  correct,  (it  can  be  easily  altered,)  Horace  says  palus,  with  both  short,  in  :  regis 
opus ;  sterilisque  diu  palus,  aptaque  remls,  A.  P.  65,  where  of  course  he  might 
have  written  :  sterilisque  palus  quondam,  or  even  :  sterilisque  palus  diu,  with  a 
long  vowel  shortened  in  hiatus,  as  in  Cicero's,  Q,  13]  and  nominatives  from  abla- 
tives :  ut  longls  syllabls  omnibus  opponere  apicem  ineptissimum  est,  quia 
plurimae  natura  ipsa  verb!  quod  scribitur  patent :  sic  interim  necessarium,  cum 
eadem  littera  alium  atque  alium  intellectum,  prout  correpta  vel  producta  est. 
facit,  ut  malus  arborem  significet  an  hominem  non  bonuin,  apice  distinguitur  • 
palus  aliud  priore  syllaba  longa  [palus]  aliud  sequent!  [palus]  significat ;  et  cum 
eadem  littera  nominative  casu  brevis,  ablatlvo  longa  est,  utrum  sequamur. 
plerumque  hac  nota.  monendi  sumus  (i,  7,  2—3).  For  foreigners  who  have 


Art 23, 24.]  ARTIFICIAL  RHYTHMICAL  UNIT.  17 

ART.  23. — When  on  account  of  two  or  more  con- 
sonants following  which  cannot  begin  a  word,  the  syllable 
is  bound  to  terminate  in  one  or  more  of  them,  then, 
whether  the  vowel  is  long  or  short,  the  syllable  is  con- 
sidered long.  This  occasions  great  difficulty  in  deter- 
mining whether  the  vowel  is  naturally  long  or  short.1 
As  a  mere  matter  of  convenience,  having  no  Augustan 
ears  to  discover  the  error,  or  Augustan  sense  to  de- 
termine what  is  right,  and  guided  by  many  other  con- 
siderations, I  shall  usually  treat  such  vowels  as  short. 

ART.  24. — Even  when  the  consonants  are  capable  of 
beginning  a  syllable  as  in  a-gro,  the  vowel  is  sometimes 
run  on  to  the  consonant,  and  the  first  syllable  made  long 
as  ag-ro,  (see  ag-ricolam,  D,  9)  but  we  may  readily  sup- 
pose that  this  occurred  only  in  poetry.2 

not  heard  and  used  the  word  over  and  over  again  till  it  is  ingrained,  but  who 
have  to  gather  it  by  the  eye  from  time  to  time,  sometimes  once  in  a  year,  the 
ambiguity  which  Quintilian  even  as  a  Roman  felt  for  sense,  remains  in  all  cases 
f  jr  pronunciation.  "  Position  "  is  determinable  by  easy  rules,  and  hence,  except 
to  warn  beginners  (as  in  the  Appendix),  need  not  be  marked.  But  the  natiirally 
long  vowel  should  be  invariably  marked,  as  it  is  throughout  this  tract. 

1  There  is  an  old  bad  custom  of  putting  a  long  mark  over  the  vowel  in  a  syllable 
which  is  long  by  "position,"  as:  agrestem.     We  must  distinguish  between  the 
long   vowel  and   the   long    syllable.     Of  this  word  agrestem,  Quintilian  says, 
a  brevis,  gres   brevis,    faciet    tamen   longam  priorem   [syllabam],   (9,   4,  86). 
Cicero  says  :  inclitus  dlcimus  brevl  prlma  littera,  tnsdnus  products,  inhumdnus 
brevl,  Infeltx  longa,  et,  ne  multls,  quibus  in  verbls  eae  pnmae  litterae  sunt,  quae 
in  sapiente  atque  felloe,  producte  dicitur  ;  in  ceteris  omnibus,  breviter :  itemque 
composuit,  consuevit,  concrepuit,  confecit :  consule  veritatem,  reprehendet :  refer 
ad  aures,  probabunt :  quaere,  cur?  ita  se  dlcent  juvari:  voluptati  autem  aurium 
morigerari  debet  oratio  (Or.  §  159).    This  shews  clearly  that  the  length  of  the 
vowel  did  not  depend  upon  "  position,"  as  the  bad  notation  alluded  to,  seems  to 
imply. 

2  Quintilian  says  :  evenit,  ut  metri  quSque  condicio  mutet  accentum,  ut  pecudes 
pictaeque  voltic-res ;  nam  voluc-res  media  acuta  legam,  quia  etsi  natura  brevis, 
tamen  positione  longa  est,  ne  faciat  iambum  quern  non  recipit  versus  herous 
(i,  5,  28).     This  shews  that  he  would  naturally  say  vdlucres  as  an  anapest,  and 
that  voli4C-res  was  merely  poetical.     Similarly :    quSe  flunt  spatio,  slve  cum 

C 


i8  ARTIFICIAL  RHYTHMICAL  UNIT.  [Art.25-27. 

ART.  25. — When  the  vowel  was  short  the  consonant 
was  necessarily  dwelt  upon,  and  even  a  slight,  and 
when  the  consonant  was  mute,  quite  perceptible  pause, 
was  probably  made  between  the  consonants  as  in  ac-tus 
(Art.  21). 

ART.  26. — In  words  ending  with  a  consonant  there 
was  always  a  possibility  of  a  following  consonant  to 
lengthen  the  last  syllable,  and  even  when  the  word 
ended  with  a  vowel  there  might  follow  a  troublesome 
initial  combination,  creating  position.  Hence  perhaps 
it  arose  that  the  length  of  a  final  syllable  having  a  short 
vowel  was  unsettled,  and  a  short  syllable  might  be  used 
for  a  long  one.  At  the  end  of  a  clause,  a  syllable,  no 
doubt,  was  often  lengthened,  and  Cicero  repeatedly  tells 
us  that  length  was  indifferent  in  such  cases  (P.  i — 3). 

ART.  27. — Syllables  ending  in  a  short  vowel,  not  run 
on  to  the  following  consonant,  were  taken  as  short. 
Even  where  it  seems  that  the  vowel  must  be  run  on  to 
the  consonant;  if  a  following  vowel  allows  the  separation 
of  the  consonant  from  the  preceding  vowel,  I  think, 
that  this  medial  consonant  was  probably  attached  in 
speech  to  the  following  only  and  not  to  the  preceding 
vowel  as  well.  This  was  almost  certainly  the  case  in  the 
middle  of  a  word,  and  was  probably  the  case  at  the  end 
thus  me-di-u-ses-t  =  medius  est*  The  words  were  run  on 

syllaba  correpta  producttur,  ut  Italiam  fdto  profitgus,  seu  longa  corripitur,  ut 
iinius  ob  noxam  etfurids,  \unius  for  uriiiis\  extra  carmen  non  deprehendas  ;  sed 
nee  in  carmine  vitia  ducenda  sunt  (i,  5,  18). 

1  Mr.  Roby  (Grammar,  p.  87,  §§  272,  273,  and  preface,  p.  IxxxiiL,  2nd  edition, 
adopts  the  English  habit,  as  in  critical,  where  the  first  syllable  ends  with  the 
glide  of  the  first  i  on  to  t,  and  the  second  begins  with  the  glide  of  t  on  to  the 
second  z.  Notwithstanding  the  reasons  he  has  adduced  in  the  passages  cited,  I 
incline  to  think  that  the  Latins  did  not  speak  thus.  So  far  as  I  can  judge, 
modern  Italians  do  not.  When  a  consonant  occurred  between  two  vowels  as  in 


Art.  27.]      ARTIFICIAL  RHYTHMICAL  UNIT.  19 

in  all  cases  very  closely  together,  without  any  gaps.  In 
fact,  as  Cicero  says,  Latins  were  not  allowed  to  divide 
their  words  (Q.  8).  This  is  the  practice  in  almost  all 
languages.  We  complain  of  French  use  in  that  respect, 

fames,  there  was,  I  think  no  glide  of  the  first  vowel  on  to  the  consonant,  as  of  a 
on  to  m,  but  only  of  the  consonant  m  on  to  e.  The  glide  from  vowel  to  consonant 
occurred  only  when  at  least  two  consonants  followed,  and  was  even  then  not 
compulsory  if  these  two  consonants  could  form  an  initial  combination.  In  other 
words  no  such  glide  occurred  without  "forming  position."  At  the  end  of  a 
clause  this  was  always  assumable.  In  position  then  the  vowel  glided  on  to  the 
first  consonant,  and  then  if  the  consonant  was  mute,  silence  ensued  ;  if  not  mute, 
the  consonant  itself  sounded  a  very  short  time.  The  second  consonant  glided 
only  on  to  the  following  vowel.  If  we  use  the  minus  sign  (— )  to  shew  absence  of 
glide,  and  the  plus  sign  (-f)  to  shew  presence  of  glide,  it  seems  to  me  that  Latin 
fames  =  f  +  a— m  +  e  +  s,  annus  =  a  +  n  —  n  +  u  +  s,  agro  —  a  — g  +  r 
+  o,  erunt  =  e  —  r  +  u  +  n  +  t;  whereas  English  famine  =  f-fa  +  m  +  i+n. 
The  question  is  exceedingly  difficult.  Frenchmen  as  a  rule  assert  that  their  own 
medial  consonant  belongs  to  the  second  vowel  only.  The  late  Mons.  A.  C.  G. 
Jobert,  who  spoke  English  admirably,  and  was  a  man  of  science  as  well  as  a 
teacher  of  languages,  could  only  hear  the  glide  on  to  the  first  consonant  (Col- 
loquial French  or  the  Philosophy  of  the  Pronunciation  of  the  French  Language, 
1854,  pp.  191).  I  had  long  conversations  with  him,  but  could  not  get  him  to  feel 
that  he  also  glided  -the  consonant  on  to  the  following  vowel,  as  I  heard  him  dis- 
tinctly pronounce.  M.  Tourier  (Model-book,  1851)  had  also  noticed  the  glide 
from  the  preceding  vowel  to  the  consonant,  but  not  so  fully.  M.  Favarger,  a 
living  French  teacher,  who  has  carefully  studied  pronunciation,  after  for  a  long 
while  refusing  to  recognise  the  first  glide  on  to  the  consonant,  in  a  recent  conver- 
sation with  me  stated  that  further  observation  constrains  him  to  admit  it.  These 
facts  serve  to  shew  the  great  difficulties  in  the  way  of  the  investigation  even  in 
living  speech,  and  to  explain  the  hesitation  with  which  I  speak  respecting  Latin, 
especially  when  it  is  impossible  to  enter  into  the  numerous  little  reasons  which 
collectively  make  me  incline  to  the  opinion  here  expressed.  This  opinion  may  be 
made  the  ground-work  of  a  practical  pronunciation,  but  when  the  vowel  is  thus 
separated  from  the  consonant  Englishmen  will  be  apt  to  lengthen  it,  and  this  is 
certainly  a  worse  error  than  running  it  on  to  the  consonant ;  fa'  -  mae  and  fa  —  me 
must  be  kept  quite  distinct.  The  pitch  accent  must  be  carefully  separated  from 
the  force  accent,  and  then  much  of  the  difficulty  will  be  overcome.  If  however 
fa  +  m  -f  e  is  said,  care  must  be  taken  not  to  fall  into  fa  +  m  —  m  +  e  as  in 
flammae,  which  perhaps  an  Augustan  Roman  would  hear  in  the  English  sound  ; 
that  is,  hearing  a  new  sound  he  would  refer  it  naturally  to  that  most  familiar  to 
his  own  organs.  At  least  such  is  the  habit  of  all  moderns.  These  remarks 
apply  especially  to  the  pronunciation  of  both  cane  and  Cannae  like  the  Scotch 
canny,  and  so  on  in  other  words,  as  virl  like  English  7>irile,  homo  like  English 
hommage,  tremor  like  English  tremorir  or  tremble,  &c.  which  I  believe  to  be 
mere  English  expedients  to  keep  the  vowel  short,  but  might  have  served  to 
lengthen  the  syllable  to  a  Roman's  ears. 

C    2 


20  ARTIFICIAL  RHYTHMICAL  UNIT.  [Art. 27,28. 

the  French  complain  just  as  much  of  English  use.  It 
is  only  the  foreigner  who  breaks  up  a  sentence  into  un- 
connected words. 

ART.  28. — Now  the  most  artificial  part  of  the  Latin 
and  Greek  quantitative  rhythm,  consisted  in  taking 
a  short  vowel,  or  syllable  as  the  unit  of  length,  and 
supposing  that  it  was  always  of  the  same  length,  and 
that  the  long  vowel  or  syllable  was  of  exactly  twice 
that  length.  Nothing  of  this  kind  is  likely  to  have 
occurred  in  speech  or  declamation,  but  may  have  oc- 
curred in  chanting,  and  must  have  occurred  in  simul- 
taneous chanting.  Cicero  found  Greek  lyrics  entirely 
wanting  in  rhythm  when  the  music  was  absent,  and 
had  great  difficulty  in  following  some  of  the  comic 
metres  when  the  piper  was  not  present  to  mark  the 
time  (O.  9 — 14).  Hence  the  artificiality  is  apparent. 
Still  to  begin  with,  this  artificiality  must  be  aimed  at, 
because  we  have  nothing  like  it  in  English  except  in 
barred  music,  with  crotchets  and  quavers  (Art.  14, 
note).  In  English  singing  the  consonants  are  reduced 
to  nonentities,  and  the  short  vowels  lengthened  on 
long  notes.  Later  Greek  and  Latin  chanters  did  play 
such  mad  pranks  occasionally,  (p.  28,  note)  but  the 
older  rhythms  were  very  much  simpler,  the  music  was 
merely  to  steady  the  voice,  and  it  was  important  that 
the  words  should  be  intelligible.  That  they  read 
the  verse  in  a  semi  chant,  if  not  a  full  chant,  is  scarcely 
to  be  doubted.  That  even  declaimers  did  so  some- 
times, the  story  of  Gracchus's  piper  told  by  Cicero  leads 
?  us  to  think  (R.  2—  7).  But  from  what  Cicero  him- 
1  self  says,  I  think  that  he  did  not  chant  much  more  than 
\many  of  our  own  public  speakers,  especially  when  they 


Krt.2%,29.}  ARTIFICIAL  RHYTHMICAL  UNIT.  21 

indulge  in  orotund1-  delivery.  Even  declaiming  without 
a  vestige  of  chant,  is  not  a  century  old  in  English,  and 
many  English  readers  always  chant  poetry,  or  read  in 
a  peculiar  style  totally  different  from  their  prose  habits, 
just  as  their  prose  reading  differs  from  their  ordinary 
speech.  In  English,  however,  the  inflexion  of  the  voice 
is  free,  except  in  the  final  cadence.  In  Latin  it  was 
fixed  for  every  word. 

ART.  29. — To  make  all  long  syllables  of  the  same 
length  or  nearly  so  we  shall  have  to  take  liberties  with 
the  lengths  of  their  vowels  and  consonants.  The 
rhythmical  relations  are,  however,  best  studied  in  com- 
bined syllables  called  feet.  In  all  the  following  ex- 
aminations of  length,  set  your  pendulum  to  the  length  of 
time  which  you  wish  your  short  syllable  to  occupy,  and 
reckon  one  single  swing  for  a  short,  and  two  single  swings 
(or  one  double  swing)  for  a  long  syllable.  Instead  of 
a  pendulum,  the  teacher  may  use  rapid  finger  taps,  if  he 
can  trust  himself  for  making  them  sufficiently  isochronous. 
Then  the  fall  of  the  finger,  or  the  rise  is  a  short  length, 
and  the  rise  and  fall  together  a  long  length.  For  some 
feet,  spondee,  dactyle,  anapest,  choriamb,  this  answers 
well ;  but  difficulties  arise  for  trochees,  iambs,  paeons, 

1  Adopting  the  favourite  elocutionist's  adjective  made  from  ore  rotundo,  com- 
pare Quintilian :  sit  autem  in  prlmls  lectio  [of  verses]  virllis  et  cum  suavitate 
quadam  gravis,  et  non  quidem  prosae  similis,  quia  et  carmen  est  et  se  poetae 
canere  testantur :  non  tamen  in  canticum  dissoluta  nee  plasmate  (ut  nunc  a 
plerlsque  fit)  effeminata  :  de  quo  genere  optime  C.  Caesarem  praetextatam  adhuc 
accepimus  dixisse :  si  cantas,  male  cantas;  si  legis,  cantas  (i,  8,  2).  This 
affected  plasma  was  evidently  something  approaching  to  a  high  pitched  oro- 
tundity,  for  he  compares  it  to  harmonics  on  a  pipe  :  nee  verba  in  faucibus  patietur 
[hlc  magister]  audlrl,  nee  oris  inanitate  resonare,  nee,  quod  minime  sermon! 
puro  conveniat,  simplicem  vocis  naturam  pleniore  quodam  sono  circumlinlre,  quod 
Graecl  KaTa7re7rA.ao-/u.eVoi/  dlcunt.  Sic  appellatur  sonus  tibiarum,  quae  praeclusls 
quibus  clarescunt  foraminibus,  recto  modo  exitu  graviorem  splritum  reddunt 
(i,  ii,  6.  7). 


22  ARTIFICIAL  RHYTHMICAL  UNIT.  [Art.  29, 30. 

epitrites,  &c.,  which  will  require  the  interval  between 
two  taps  to  be  taken  as  the  standard  short,  and  hence 
involve  very  rapid  tapping.  The  exact  equality  of  divi- 
sion is  not  ultimately  of  much  importance.  Its  primary 
use  is  to  destroy  our  own  modern  Western  habits  in 
which  quantitative  rhythm  is  not  known.  When  a 
teacher  can  hear  a  native  pundit  read  some  lines  of 
Sanscrit,  or  a  native  Arab  or  Persian  literary  man  read 
some  Arabic  or  Persian  poetry,  where  the  rhythm  is  still 
entirely  quantitative,  and  observe  how  grand  and  marked 
the  long  syllables  stand  out  from  the  short  ones,  although 
the  latter  are  not  hurried  over,  he  will  have  a  better 
notion  of  quantitative  rhythm  as  a  reality,  than  he  can 
educe  by  any  amount  of  mere  reading  and  imagining. 

ART.  30. — The  length  of  syllables  may  be  marked  by 
the  teacher  as  in  this  tract,  and  in  the  quantitative  ex- 
amples. The  diphthongs  "  ae,  oe,  au,  eu,  ui,"  are  always 
long.  The  vowels  "  a  e  I  6  u  "  are  also  always  long  and  all 
other  vowels  are  short,  so  that  the  short  mark  becomes 
unnecessary.  A  short  vowel  followed  by  another  vowel 
or  by  a  single  consonant  or  an  initial  combination  of 
consonants,  ends  a  short  syllable.  A  long  vowel  under 
the  same  circumstances  ends  a  long  syllable.  Any  vowel 
long  or  short  or  any  diphthong  followed  by  a  consonant 
with  a  hyphen  after  it,  occurs  in  a  long  syllable.  After 
a  very  little  practice  it  will  be  found  unnecessary  to  mark 
"position,"  by  putting  this  hyphen  after  the  consonant 
which  ends  the  syllable.  But  it  should  be  added  in 
exceptional  cases,  as,  "  ag-ro  voliic-res."  The  invariable 
place  of  highest  pitch  in  each  word  should  be  marked  by 
an  acute  or  circumflex  according  to  rules  subsequently 
given,  (Art.  41)  but  of  course  well  known  to  the  teacher. 


Art.  30—33.]  METRICAL  FEET.  23 

The  variable  position  of  force  should  be  marked  by  a 
turned  period,  or  by  underlining  on  the  black  board. 
Pupils  should  be  encouraged  to  mark  the  naturally  long 
vowel,  and  that  only,  in  their  books. 

IV.  Metrical  Feet  in  Latin  Words. 

ART.  31. — There  are  an  immense  number  of  feet,  of 
which,  with  few  exceptions,  only  those  of  two  or  three 
syllables  need  be  noticed.  Quintilian,  differing  from 
Cicero,  considers  all  others  to  be  compound  (9,  4,  79). 

ART.  32. — Pyrrhic  of  two  short  syllables,  as:  memor, 
suus,  meus,  mala,  bona,  friior,  cane,  pater,  jovis.  Here 
the  difficulties  consist  in  giving  the  highest  pitch  to  the 
first  syllable,  in  letting  the  voice  fall  on  the  second,  in 
not  running  the  vowel  of  the  first  syllable  on  to  the 
following  consonant,  and  in  placing  the  force  or  loudness 
sometimes  on  the  first,  and  sometimes  on  the  second 
syllable,  when  the  latter  ends  in  a  consonant,  without 
lengthening  either.  This  exercise  requires  great  practice, 
but  it  is  fundamental. 

ART.  33. — Iamb,  one  short  and  one  long  syllable,  as  : 
para,  ama,  aman-t,  regun-t,  siios,  fores,  plagas,  dels,  chori. 
Here  again  the  same  difficulty  with  regard  to  the  first 
syllable  occurs,  and  the  length  of  the  second  will  occasion 
some  trouble  to  pronounce  it  without  stress.  Recollect : 
"scatter  her  enemies,"  in  God  save  the  Queen,  where 
"scat*errr"  is  sung,  with  the  first  syllable  very  short 
yet  with  force,  and  the  second  syllable  very  long  and  yet 
without  force.  In  Latin,  sometimes  the  first,  sometimes 
the  second  syllable  had  force,  but  the  vowel  was  never 
run  on  to  the  consonant,  as  in  "  scat'errr,"  so  that  re'gun-t 


24  METRICAL  FEET.  [Art.  33—36. 

must  not  fall  into  reg'itnt,  which  might  be  heard  as  a  bad 
reg-gun-t,  and  then  would  not  be  an  iambus  at  all  (p.  19, 
note). 

ART.  34. — Trochee,  or  choreus,  one  long  and  one  short 
syllable,  as:  ro'ma,  ve'sa,  me'ta,  pal-ma,  ri'sus,  mo'tus. 
This  is  altogether  an  easy  foot,  especially  as  the  force 
need  not  be  laid  on  the  last  syllable. 

ART.  35. — Spondee,  two  long  syllables,  as :  re'ges, 
re'gi,  vir-tus,  vdn-tos,  mtil-tos,  cur-run-t.  The  difficulty 
here  is  to  keep  both  syllables  long,  and  to  practise 
giving  the  force  to  either  syllable  without  losing  the 
length  or  high  pitch  of  the  other.  There  will  be  a  diffi- 
culty in  keeping  the  spondee  distinct  from  the  iambus 
and  trochee.  Decline  an  adjective  as  :  mag-nus,  mag-na, 
raag-ni,  mag-no,  mag-nos ;  and  :  citus,  cita,  citi,  cito,  citos, 
and  mark  the  differences  of  length  clearly,  avoiding  the 
common  school  trick  of  putting  great  force  on  the 
variable  final  syllable  and  making  the  preceding  syllables 
almost  inaudible,  (see  Art.  112).  Remember  that  in: 
mag-na,  mag-nse,  &c.  the  first  syllable  is  fully  as  long  as 
the  second,  and  that  although  in:  cita,  citae,  the  first 
syllable  is  short,  it  has  the  highest  pitch  and  is  not  at  all 
obscured  or  hurried  over.  This  exercise  is  really  very 
difficult  to  English  pupils.  Such  English  words  as :  turn- 
pike, muletrack,  primrose,  highway,  tollbar,  penknife, 
made  to  follow  the  phrase  "we  can  see  the  — "  in  an 
affirmative  (not  interrogative)  sentence,  may  help  to  give 
Englishmen  some  conception  of  a  Latin  spondee  both 
in  quantity  and  pitch  accent. 

ART.  36. — Dactyle,  one  long  and  two  short,  as :  ver- 
tere,  rum-pere,  cae-saris,  l'n  sula.  The  difficulty  here  is 
to  prevent  the  last  syllable  from  becoming  long,  as  in  :  I'n- 


Art.  36—38.]  METRICAL  FEET.  25 

sulas,  forming  a  cretic,  (also  called  amphimacrus)  or  one 
short  between  two  long. 

ART.  37. — Anapest,  two  short  and  one  long,  as  :  pdpuli, 
memores,  propera.  Great  care  has  to  be  taken  not  to 
make  the  first  syllable  long,  and  when  the  force  is  given 
to  the  first  syllable  not  to  make  it  long  by  running  the 
first  vowel  on  to  the  following  consonant,  (giving  a  cretic 
again,)  or  not  to  do  this  and  also  not  to  make  the  last 
syllable  short,  converting  the  anapest  into  a  dactyle ;  or 
not  to  make  all  three  short.  Great  care  is  necessary  to 
distinguish  po'pulus,  populus,  po'pull,  populi,  memoris, 
memores. 

Feet  of  Three  and  Four  Syllables. 

ART.  38. — Molossus,  three  long,  as  :  in-gen-tes,  In-fan- 
dos,  sub-mi t-tun-t,  and  Choriamb,  (that  is  choreus  and 
iambus),  two  short  between  two  long,  as :  op-positls,  myr- 
midones.  These  two  feet  occasion  great  difficulty  to 
keep  them  clear  and  distinct  Their  length  is  the 
same,  but  their  rhythmic  effect,  which  depends  not 
merely  on  the  length  but  on  the  number  of  syllables,1  is 
very  different.  As  these  feet  are  often  distributed  among 
different  words,  the  position  of  the  highest  pitch  varies 
considerably.  If  the  force  coincides  with  the  beat  of 
the  line,  then  in  both  molossus  and  choriamb,  the  first  and 
last  syllable  have  generally  the  stress,  and  in  putting  it 
there  care  must  be  taken  not  to  make  the  second  syllable 
of  the  molossus  short.  The  usual  bad  habit  is  to  read 
a  molossus  as  one  long  between  two  short  making  instantis 
in  position  (K.  3)  like  aml'ca,  which  is  an  amphibrach, 
or  one  long  between  two  short. 

1  Cicero  (Orator  §  194)  quoting  from  Aristotle,  says  :  "Ephorus  vero  ne  spon- 
deum  quidem,  quern  fugit,  intelligit  esse  aequalem  dactylo,  quern  probat  [Aris- 
toteles],  syllabls  enim  metiendOs  pedes,  non  intervallls  existimat." 


26  VERSE  RHYTHM.  [Art.  39,  40. 

ART.  39. — The  following  examples  of  all  the  feet 
which  are  usually  spoken  of  by  name  are  taken  from 
p.  164  of  W.  Ramsay's  "Elementary  Treatise  on  Latin 
Prosody;  (Glasgow  and  London,  1837,  pp.  304),  which 
is  extremely  useful  for  the  numerous  examples  it  con- 
tains, each  with  an  exact  reference  : — 

DISSYLLABIC.  Pyrrhichius  casa,  Spondaeus  reges,  Tro- 
chaeus  Roma,  Iambus  parens. 

TRISYLLABIC.  Tribrachys  anima,  Molossus  Roman!, 
Dactylus  car-mina,  Anapaestus  populos,  Amphibrachys 
arnica,  Amphimacer  ap-pull,  Bacchius  can  tare,  Anti- 
bacchius  catones  (palimbacchius  in  Quintilian  9,  4,  82). 

QUADRISYLLABIC.  Proceleusmaticus  habilior,  Dispon- 
daeus  Maecenases,  Choriambus  Romulidae,  Antispastus 
Clytem-nestra,  Dliambus  Corinthii,  Dltrochaeus  or  Dlcho- 
raeus  (P.  i)  dimicare,  lonicus  a  majore  Lavlnia,  lonicus 
a  minore  Diomedes,  Epitritus  primus  venenatis,  E.  se- 
cundus  con-ditores,  E.  tertius  heroic!,  E.  quartus  in- 
vltamus,  Paeonius  primus  Caecilius,  P.  secundus  Horatius, 
P.  tertius  Menedemus,  P.  quartus  profugien-s. 

V.  Elementary  Notions  of  Verse  Rhythm  with 
both  Accent  and  Quantity — Hexameters. 

ART.  40. — After  a  feeling  for  the  rhythm  of  these  feet 
has  been  produced,  we  must  proceed  to  verse — treating 
at  first  the  so-called  elided  syllables,  (of  which  the  precise 
nature  is  to  be  considered  afterwards,)  as  absolutely  non- 
existent. Thus  in  the  examples  in  the  Appendix,  where- 
ver w  is  used,  skip  the  vowel  before  it  entirely,  and  where 
a  small  m  is  also  written,  skip  that  as  well.  Where  a  regular 
final  m  is  used  with  a  hyphen  after  it,  read  it  like  the 


Art.  40,  41.]  VERSE  RHYTHM.  27 

next  following  consonant.    The  object  is  not  yet  to  teach 
how  to  read  verse,  but  only  how  to  understand  the  action  j 
of  feet  in  producing  rhythm.     Hence  we  reduce  a  verse  \ 
to  a  mere  skeleton  of  sound,  independent  of  sense  and 
of  rhetorical  alterations  of  sound.    These  are  the  muscles 
and  nerves  to  be  laid  on  afterwards. 

ART.  41. — But  the  place  of  the  raised  pitch  must  be 
strictly  observed,  and  for  this   purpose  the  verses   had 
better  be  first   read  in  a   kind  of  sing-song,  the   high  1 
pitched  syllables  being  all  of  one  pitch  and  the  low  I 
pitched  syllables  being  all  of  one  pitch  also,  but  about 
a  musical  "fifth"  lower  than  the  other,  as  if  the  latter 
were  sung  to  the  lowest  note  of  the  fourth  string   of 
a  violin,  and  the  former  were  sung  to  the  lowest  note  of 
its  third  string.1 

1  Regarding  the  musical  nature  of  Greek  accent,  there  is  a  most  instructive 
passage  in  Dionysiusof  Halicarnassus,  Trepl  crut'^ecrews  ovo/j,a.T(t)v,  Chap,  xi.,  which, 
on  account  of  its  musical  technicalities,  I  here  annex  in  English,  giving  the  prin- 
cipal Greek  expressions  in  parentheses.  This  writer,  who  was  born  between  B.C. 
73  and  54,  and  died  soon  after  B.C.  7,  lived  22  years  in  Rome,  where  he  probably 
taught  as  a  rhetorician.  He  was  no  doubt  acquainted  with  the  best  literary  men 
of  the  Augustan  epoch,  and  though  his  remarks  apply  to  Greek  and  not  to  Latin, 
there  is  no  reason  to  doubt  that  the  meaning  of  acute,  grave,  and  circumflex 
accent,  in  Latin,  coincided  with  r)  d^cta,  >)  /Sapeta,  and  r\  Trepio-Trw/xen?  Trpoo-wfita  in 
Greek,  of  which  the  Latin  words  were  mere  translations.  The  two  first  words  were 
however  universally  applied  in  Greek  to  raising  and  lowering  pitch  in  music.  The 
following  passage  serves  to  shew  that  not  only  the  names,  bjat  the  things  signified 
were  identical :  "  Music  (MOVCTIKT}),  and  the  science  of  pubUc  speaking  (ij  TUV  TroAt- 
TIKMV  \6yaiv  eTrtcrTTj/ar/),  differed  from  that  used  in  songs  and  on  instruments  (r»7s  £v 
(uSais  /cat  opyaVots)  in  quantity  (TO>  7roo-<2),  not  in  quality  (TO)  TrotoJ).  For  in  the 
latter  [public  speaking]  words  (Ae£ets)  have  also  melody  (/xe'Aos),  rhythm  (pvdf*.bv), 
modulation  (/xeTajSoArJi')  and  propriety  (  rrpenov).  In  speaking,  then,  also,  the  ear 
is  delighted  with  the  melody,  is  impelled  by  the  rhythm,  welcomes  the  modu- 
lations, and  especially  longs  for  propriety  (7ro0et  6'  £771  TTOLVT^V  TO  oc<cetov).  The 
difference  is  merely  one  of  degree  (*cara  TO  /LtaAAoi/  /cat  TJTTOV).  The  melody  of 
speech,  then,  (StaAeKTOv  /aeAos),  is  measured  by  a  single  musical  interval  (evi 
Siao-Ti^om)  which  is  as  nearly  as  possible  (oJs  e-yytcrra),  that  called  a  Fifth 
(TO)  Aeyo/u-eVo)  Stci  Trei/Te).  It  does  not  rise  in  pitch  (eTrtTCtVeTat  evrt  TO  6£u)  beyond 
three  Tones  and  a  half  (irepa  r<Zv  jptcoi/  rovuv  /cat  ij^uTOvt'ov,  which  is  the  measure 
of  a  Fifth  in  the  musical  scale  as  from  C  to  G),  nor  is  it  depressed  in  pitch 
(ai/ierat  ^TT!  TO  /3api»)  more  than  this  amount  (TOU  x^ptou  TrAetoi/).  But  the  whole 


28  VERSE  RHYTHM.  [Art.  41. 

The  place  of  raised  pitch  is  not  marked,  except  in  the 
first  example  A,  but  may  be  easily  found  from  the 

of  a  word  (anaaa  77  Ae'fts),  considered  as  made  up  of  parts  (17  naff  ei>  fj.6pt.ov  Adyov 
raTTO/aeVij),  is  not  spoken  (Aeyercu)  at  the  same  pitch  (rrjs  avr^s  raVeoj?),  but  one 
part  in  an  acute  pitch  (o£eias),  one  in  a  grave  pitch  (jSapetas),  and  another  in  both 
pitches  (a/x$oti/,  of  course,  successively).  Those  words  of  one  syllable  which  have 
both  pitches,  have  a  low  pitch  imperceptibly  blended  with  the  high  (avve^Bap- 
Hevov  c^ovo-i  T<*>  6£et  TO  /3apu,  the  word  implies  a  mixture  by  the  dying  off  of  one 
into  the  other ;  the  low  is  probably  placed  first  because  it  was  the  longer  and 
final  effect  which  grew,  as  it  were,  out  of  the  high),  and  these  we  call  "  cir- 
cumflexed"  (7repto-7rw|u.eVa?).  But  those  words  which  have  pitch  upon  different 
syllables  separately  (£»/  erepo)  re  /cat  ere'pco  xwpts)  keep  its  proper  nature  (TI]V 
oiKelav  <f>vaiv}  for  each.  In  dissyllables  there  is  nothing  intermediate  between 
high  pitch  and  low  pitch  (ovSev  TO  Sta  (j.e<rov  x<aP^ov  /SapvTrjTos  /cat  ofvTijTos).  But 
in  polysyllabic  words,  of  all  kinds,  there  is  but  one  syllable  which  has  the  high 
pitch  among  many  which  have  the  low  pitch  (r;  TOV  b£vv  rovov  e\ovaa  /u.ta  ev 
TroAAat?  jSapeiats  eveanv).  On  the  other  hand,  the  music  of  song  and  of  instru- 
ments uses  a  greater  number  of  intervals  (Stcurnj'/u.acri  ir\eioaiv),  and  not  only 
the  Fifth,  but  beginning  with  the  Octave  (curb  TOU  did  iraa<Zv  c*p£a/u,eV»j),  it  per- 
forms (/aeAwfiet)  the  Fifth,  the  Fourth  (TO  Sid  Tecraapajf),  the  whole  Tone  (TO 
didrovov)  and  the  Semitone  (TO  yfjuroviov),  and  as  some  think,  even  the  Quarter- 
tone  audibly  (rrjv  Sieaiv  atcr^rjTw?,  the  diesis  was  originally  the  same  as  a  semitone, 
whence  the  modern  French  diese  for  sharp,  but  the  word  was  afterwards  used 
for  the  later  enharmonic  division  of  the  semitone,  so  that  the  interval  B  to  C 
had  an  nserted  transitional  sound,  which  we  may  write  6B,  thus  giving  B — 
6B  —  C,  where  the  lengths  of  the  string  sounding  the  notes  were  in  the  proportion 
32-  31 — 30;  the  English  Quartertone  is  a  very  loose  term,  but  it  is  generally 
used  n  this  case  ;  see  the  Greek  Scale  explained  in  Smith's  Classical  Dictionary, 
and  more  fully  in  Helmholtz's  Tonempfindungen,  Chap,  xiv.,  of  which  my  English 
Translation  is  in  the  press).  But  this  [vocal  and  instrumental]  music  does  not 
hesitate  (a£«u)  to  subordinate  words  to  the  air  (TO.?  Ae'£ei?  TOI?  jueAecrtv  vnroTaTTei^), 
instead  of  the  air  to  the  words,  [as  in  the  present  day,  but  let  us  hope  that  this 
did  not  happen  till  the  degenerate  period  of  Greek  music  in  which  Dionysius  livedj. 
This  is  especially  evident,  among  many  others,  in  the  airs  of  Euripides,  which  he 
has  made  Electra  sing  when  speaking  to  the  chorus  in  his  "  Orestes"  [v.  140 — 3]. 

alya,  alya,  Aev/cbv  i^yo?  a'p/SuAij? 

TiOeire,  /utry  KTVirelre — 

aTroTrpo/Sa/r'  e/ceiV  ciTroTrpofli  KOITO.S. 

[The  lines  are  here  printed  from  the  t^xt  of  Tauchnitz's  stereotyped  edition  ol 
Dion.  Hal.,  and  this,  it  will  be  seen,  was  clearly  his  reading.  But  Dindorf 's  text 

alya,  alya,  \eirrw  i^^05  ap/SvArj? 

Ti'0ere,  /txr)  i^o^eire,  jixjj  VTW  KTUTTO?. 

ctTTOTrpb  /SctT*  e/cetcr'  dnoTrpo  /not  /cotVa?. 

These  are  the  first  lines  of  lyric  poetry  in  the  tragedy.  It  is  not  to  be  supposed 
that  the  music  here  criticised  is  that  used  when  the  play  was  first  performed  B  c. 
408,  that  is,  more  than  three  centuries  before  these  remarks  were  written,  when 
Greek  music  had  probably  different  rules] .  In  these  lines  the  words  utyo.  alya 


Art.  41.]  VERSE  RHYTHM.  29 

quantity.  It  is  never  on  the  last  syllable,  except  of  course 
when  the  word  has  been  artificially  shortened  for  these 
exercises  by  omitting  the  vowel  before  ^.  If  the  last 
syllable  but  one  is  long,  it  is  spoken  with  a  raised  pitch, 
which  is  maintained  throughout  if  its  vowel  is  short,  as  : 
ven-tus,  ven-tos,  or  if  the  last  syllable  is  long,  as  :  fa'mae ; 
but  sinks  immediately,  if  its  own  vowel  \§  long,  and  at  the 
same  time  the  vowel  of  the  last  syllable  short,  as  :  fama, 
to  be  distinguished  from  :  fa/ma.  When  the  word  qne  is 
added  on,  the  preceding  syllable  even  if  short  has 
a  raised  pitch  (not  greater  force)  and  this  in  the  Ap- 
pendix is  marked  in  all  the  examples,  as  :  metaque* 
because  it  is  constantly  forgotten  by  English  readers.1 

AevKoi/  are  set  (/ueXtuSetTcu)  to  a  single  note  (£<£'  ei>bs  <£>0oyyov)  although  each  of  the 
three  words  has  both  high  and  low  pitches  (jSapeta?  re  raVeis  e\et  /cat  ofetas, 
observe  that  raVei?  is  here  used  for  Trpoo-wStas).  And  the  word  apjSuArj?,  has  the 
third  syllable  of  the  same  pitch  as  the  second  (kit\  /UCOTJ  <ruAAa/3r}  rrjv  TpCrrjv  oju.6- 
rovov  «?xeO»  though  it  is  impossible  (dfutf)(avw  ovros)  that  one  word  (ev  ofojma) 
should  have  two  high  pitches.  In  the  word  Tifleire  although  the  first  syllable  is 
made  lower  (/Sapurepa),  the  two  that  follow  have  both  the  same  high  pitch  (bi-vrovoL 
re  KCU  6ju,6$wi/oi).  The  circumflex  (6  7repto"7racrju,bs)  has  vanished  <>j</>ataoTai)  from 
KrvTreire,  for  the  two  [last  ?]  syllables  are  spoken  at  the  same  pitch  (/otta  raVei). 
And  aVoTrpojSaT'  does  not  receive  the  acute  accent  belonging  to  its  middle  syllable 
(TY)V  r>7?  /me'orjs  o-vAKajSrys  TrpocrwSiai/  6£eiai>,  where  observe  the  use  of  the  word 
TrpocrwSCav  accent  as  synonymous  with  rao-is,  pitch,  or  degree  of  tightening  of 
the  string),  but  the  pitch  of  the  third  (v)  Ta<rtf  TTJ?  Tptrrjs,  here  again  TOCTI?  is 
used  for  7rpoo-a>5ta),  has  descended  (KarajSe'jSrjKei/)  to  the  fourth  syllable.  Rhythms 
are  treated  in  the  same  manner.  For  prose  neither  forces  nor  interchanges  the 
lengths  of  any  noun  or  verb  (r)  /uter  -yap  TrecJV)  Ae'£is  ov$ei/6?  OVT'  bvo/jLaTOS,  ovre 
pjfjuiaTO?  /Sta^erat  TOVC  \p6vovs,  ov6e  /aetari^Tjcrtv),  but  preserves  long  and  short 
syllables  as  it  has  received  them  by  nature  (a'AA'  ot'a?  Trapei'Arj^e  TT)  ^>ucret  ra? 
truAAa/3as  ra's  re  /ixawpa?  Kai  ras  jSpaxeia?,  rotavra?  ^vAaTTet).  Yet  rhythmical  and 
musical  art  change  them,  shortening  and  lengthening  (/aeiovam  ical  au£ou<rai),  till 
they  are  often  reversed  (wore  7roAAcx*fi?  ei?  rdvavTia  /u,€Taxwpeii/),  for  they  do  not 
rectify  the  times  by  the  syllables,  but  the  syllables  by  the  times  (ou  yap  rais  crvA- 
AajSais  dnevQuvovai  TOV?  xP°vov*>  <*^<*-  TO??  xpo*'01?  Ta?  o-vAAa/3as)."  The  great 
value  and  importance  of  this  passage,  which  is  seldom  referred  to,  its  explicit 
identification  of  Greek  accent  with  pitch,  and  its  clear  assertion  of  the  strict 
observance  of  quantity  in  prose,  have  induced  me  to  give  it  at  length. 

1  Mr.  Roby  says  (Gram.  2nd  ed.  p.  Ixxxiii.)  :  "I  confess  to  entertaining  some 
doubts  as  to  a  short  syllable,  when  followed  by  an  enclitic,  receiving  the  accent, 


30  VERSE  RHYTHM.  [Art.  41. 

In  other  cases  if  the  last  syllable  but  one  is  short,  what- 
ever be  the  length  of  the  adjacent  syllables,  the  last 

e.g.  primdque.  As  the  Romans  would  not  have  accented  pr^maq^le  on  the 
penult,  if  it  had  been  one  word,  I  do  not  see  why  the  z  should  have  lost  the 
accent  by  the  addition  of  the  enclitic."  But  shifting  the  place  of  the  accent  was 
to  be  expected  in  order  to  shew  that  primaque  is  not  one  word,  and  probably 
Prl'maque  might  have  puzzled  a  Roman  at  first,  just  as  some  of  our  English 
accents  puzzle  the  French  (and  conversely).  Prof.  Key  (Tr.  Ph.  Soc.  1873 — 4, 
p.  50,  note)  says :  "I  have  ventured  to  place  an  accent  on  the  first  syllable  of 
•vl'taque,  [in  the  last  line  of  the  Aeneid]  rather  than  on  the  second,  because  I 
utterly  reject  the  doctrine  of  the  grammarians,  who  contend  for mtdque,  and  who 
seem  in  this  respect  to  have  obtained  the  consent  of  Mr.  Munro,  see  his  words  : 
The  enclitics  qne,  ne,  net  attract  the  accent  to  the  syllable  (word  ?)  immediately 
preceding,  whether  long  or  short,  annaque  as  well  as  armi'sqne.  Thus  in  p.  389 
he  gives  us  Lavlnaque,  Tiberinaque ;  and  in  p.  390,  templaque  mentis."  Now 
no  one  disputes  the  shifting  of  accent  in  armis  armi'sque,  because  the  last  is  re- 
garded as  a  single  word,  and  then  the  law  of  accent  would  require  the  shifting  of 
accent  as  in  vdlucres  voluc-res,  (p.  17,  note,)  and  as  is  quite  common  in  ordinary 
inflections,  as  Cfcero  Cicero'nis  Ciceroni.  On  the  modern  force  accent  principle 
the  thing  is  not  impossible,  for  it  occurs  in  modern  music  but  rarely,  and  then 
only  to  produce  a  peculiar  effect,  as  when  in  six-eight  time  the  stress  is  laid  on 
the  second  and  fifth  notes.  On  the  other  hand,  on  the  theory  of  pitch,  the  shifting 
of  the  accent  on  to  a  short  syllable  (which  is  equivalent  to  making  the  middle  note 
of  a  triplet  the  highest),  is  very  common  indeed,  and  may  be  found  constantly  in 
the  Duet  AlF  idea  in  the  JBarbiere,  thus  the  loth  and  nth  bars  have  the  lowest, 
or  a  descending  note  in  the  middle  of  the  triplets,  while  the  i2th  bar  has  three 
examples  of  the  highest  note  in  the  middle  of  a  triplet,  as  (in  the  bass),  using  s 
for  sharp :  e  a  gs,  a  c'  b,  c'  e'  d'.v,  e'  c'  a,  g.  I  presume  that,  as  in  English  we 
naturally  glide  the  vowel  on  to  the  following  consonant  when  we  give  it  force, 
Prof.  Key  and  Mr.  Roby  said :  metac'we,  vitac'we,  to  the  utter  destruction  of 
any  remnant  of  metre  left  by  putting  force  accents  for  pitch  accents  in  the  other 
words,  and  that  both  (as  I  have  personally  heard  in  the  case  of  Prof.  Key), 
regulated  the  rhythm  to  their  ear  by  force  accents,  instead  of  quantities.  .The 
result  of  so  doing  showed  itself  clearly  in  the  third  century,  even  in  Italy,  see 
Art.  113  ;  it  had  nothing  to  do  with  Augustan  Latin.  There  is  absolutely  no 
difficulty  to  English  organs  in  saying:  me'taque,  vl'taque,  and  it  is  a  good  exer- 
cise to  repeat  such  a  combination  many  times  in  succession,  beginning  slowly,  and 
increasing  speed  gradually.  Observe  also  that  Latin  prepositions,  &c.  added  on 
to  following  words  (as  in  Quintilian's  circumlFtora  in  the  next  note),  did  not 
change  the  position  of  the  accent,  because  they  were  not  proclitics,  but  did  form 
a  single  word  with  the  following,  whereas  the  shifting  of  the  accent  for  enclitics 
pointed  out  the  double  character  of  the  word.  Observe  also  that  the  law  of 
accent  in  case  of  enclitics  applies  to  Greek  as  well  as  Latin,  and  that  in  Greek  it 
even  allowed  two  syllables  with  raised  pitch  in  one  word,  as  o-a/xaTa  re,  or  trw/aa  re 
This  was  not  possible  in  Latin,  where  omniaque  vltaque  would  be  said,  the  first 
raised  pitch  becoming  lost.  But  the  principle  is  the  same,  and  whatever  theory 
is  thrown  out  must  apply  to  both  cases.  The  theory  that  accent  consisted  simply 


Art.  41.]  VERSE  RHYTHM.  31 

syllable  but  two  has  the  raised  pitch  which  is  maintained 
throughout,  as  :  Insula,  insulas,  riim-pere,  Irmite,  H'mites, 
solida.  Monosyllables  have  a  raised  pitch,  as :  tune,  ars, 
which,  if  the  vowel  is  long,  falls  immediately,  before  the 
vowel  is  concluded,  as  :  hi.  But  prepositions,  relatives, 
and  some  unimportant  vocables,  as  <?/,  aut,  &c.,  acted 
apparently  as  if  they  were  parts  of  the  following  word 
and  have  no  raised  pitch.  In  (A.),  the  raised  pitch  is 
marked  by  an  acute,  as  :  ad-sum,  and  the  low  pitch  is 
left  unmarked,  except  where  it  occurs  after  the  high  pitch 
on  the  same  long  vowel,  and  then  the  circumflex  accent 
marks  both  length  and  change  of  pitch,  as  :  ora.  Some 
doubt  attaches  to  the  absolute  generality  of  these  rules. 
But  they  are  the  only  rules  sanctioned  by  any  persons 
who  were  accustomed  to  hear  the  Latin  we  wish  to 
imitate,  and  consequently  it  is  far  better  to  err  possibly 
by  carrying  them  out  strictly,  than  to  err  certainly  by 
adopting  any  conjectures  of  later  Latin  grammarians,  or 
the  notions  of  merely  modern  critics  who  have  never 
noticed  pitch  accents  in  their  lives.1 

in  altering  pitch  does  so  apply.  In  Italian  when  the  pronouns,  &c.,  are  added  on 
to  a  verb,  they  do  not  change  the  place  of  the  original  force  accent,  as  agitan'do, 
agitan'domi,  invia're  inviar  tele,  anda'te  anda'tevene,  &c.,  although,  as  in  the 
last  instance  the  accent  is  thrown  back  further  than  would  be  allowable  on  an 
unincreased  word.  Hence  Italian  has  no  proper  enclitics.  I  do  not  indeed  know 
of  any  real  modern  analogues.  As  regards  merely  the  use  of  a  raised  pitch  upon 
a  syllable  of  little  force,  while  the  preceding  syllable  is  long  and  of  a  low  pitch, 
I  need  merely  mention  that  this  is  precisely  the  way  in  which  a  Swede  taught 
me  to  pronounce  skona,  that  is  sko'nd,  where  a  is  a  mere  unemphatic  inflectional 
syllable  as  in  German  schone,  which,  except  in  accent,  the  word  much  resembles. 
Yet  this  is  the  same  as  vi'ta(que),  Greek  oi>Se  &c. 

1  The  classical  rule  is  given  by  Quintilian :  in  om.nl  voce  acuta  intra  numerum 
trium  syllabarum  continetur,  slve  hae  sunt  in  verbo  solae  sive  ultimae,  et  in  his 
aut  proxima  extremae  aut  ab  ea  tertia.  Trium  porro  de  quibus  loquor,  media 
longa  aut  acuta  aut  flexa  erit ;  eodem  loco  brevis  utique  gravem  habebit  sonum, 
ideoque  positam  ante  se  id  est  ab  ultima  tertiam  acuet.  Est  autem  in  omm  voce 
utique  acuta  sed  nunquam  plus  una  nee  unquam  ultima  ideoque  in  dlsyllabis  prior. 


32  VERSE  RHYTHM.  [Art.  42,  43. 

ART.  42. — Begin  with  hexameters,  because  the  time  of 
each  foot  is  there  most  easily  measured.  (A,  B,  C,  D,) 
are  examples  of  hexameters.  The  great  difficulty  to 
contend  with,  on  account  of  our  English  habits,  is  the 
due  expression  of  those  long  syllables  which  are  not 
under  the  beat  of  the  verse,  supposing  that  beat  to  fall 
on  the  first  syllable  of  the  foot. 

ART.  43. — First  take  lines  having  four  or  five  spondees, 
as  A.  24;  B.  2;  C.  i,  2,  10  ;  and  D.  i,  3,  4,  6,  12. 

Praeterea  nunquam  in  eadem  flexa  et  acuta,  quoniam  eadem  flexa  et  acuta,  itaque 
neutra  claudet  vocem  Latlnam.  Ea  vero  quae  sunt  syllabae  unlus,  erunt  acuta 
aut  flexa,  ne  sit  aliqua  vox  sine  acuta  (i,  5,  30.  31).  But  he  had  already  given 
an  exception  :  cum  dlco  circum  litora,  tanquam  unum  enuntio  dissimulate,  dis- 
tinctione  [that  is,  speaking  as  if  there  were  no  separation  of  the  words],  itaque 
tanquam  in  una  voce  una  est  acuta,  quod. idem  accidit  in  illo  Trojae  qul  primus 
ab  orls  (i,  5,  27).  This  last  was  taken  to  be  Trojae'qtd  or  rather  Trojae 'qui,  with 
a  short  vowel,  and  great  increase  of  force,  by  Prof.  T.  Hewett  Key,  when  I  heard 
him  apply  it.  Those  who  know  Prof.  Key's  views  on  Latin  accent,  as  laid  down 
in  his  papers:  A  Partial  Attempt  to  reconcile  the  Laws  of  Latin  Rhythm  with 
those  of  Modern  Languages  (Trans.  Philolog.  S0c,  1868 — 9,  pp  311 — 351),  and  : 
Accent  a  guiding  Principle  not  merely  in  old  Comic  Metres,  but  generally  in  Latin 
Poetry,  and  first  of  Virgil's  Hexameters  (Ib.  1873 — 4,  pp.  35 — 52),  will  see  that  I 
hold  altogether  different  opinions.  I  may  mention  that  where  Prof.  Key  writes 
an  acute  accent  I  always  heard  him  read  with  rather  an  exaggerated  increase  of 
force,  irrespective  of  pitch.  For  myself  I  think  Quintilian  meant:  Tro'jae,  see 
also  the  passage  from  Quintilian  quoted  in  (p.  17,)  note  With  these  strict  inflexible 
rules,  Quintilian  thus  contrasts  the  Greek  freedom  :  sed  accentus  quoque,  cum 
rigore  quodam,  turn  similitudine  ipsa,  minus  suaves  habemus  :  quia  ultima  syllaba 
nee  acuta  unquam  excitatur  [raised,  excited],  nee  flexa  circumducitur  [waved], 
sed  in  gravem  vel  duas  graves  cadit  semper.  [This  is  quite  opposed  to  the  later 
Grammarians].  Itaque  tanto  est  sermo  Graecus  Latino  jucundior  ut  nostri 
poetae,  quotiens  dulce  carmen  esse  voluerint,  illorum  id  nominibus  exornent  (12, 
10,  33).  The  fact  was  Greek  was  a  foreign  language  which  Quintilian  had  some 
difficulty  in  learning  to  pronounce,  and  he  therefore  esteemed  its  sweetness  too 
highly,  just  as  the  Englishman,  who  in  the  fourteenth  century,  wrote  those  dia- 
logues in  old  French  which  M.  Paul  Meyer  has  reprinted  (from  Harl.  MS.  3988, 
in  the  Revue  Critique  for  1870),  speaks  of  "  doulz  frangois,  qu'est  la  plus  bel  et 
la  plus  gracious  language  et  plus  noble  parler,  apres  latin  d'escole,  qui  soit  ou 
monde,"  with  more  in  that  strain.  As  the  nature  of  the  accent  had  probably 
entirely  altered  before  the  fifth  century,  next  to  no  weight  is  to  be  attached  to 
what  the  later  grammarians  say  on  the  subject.  They  were  nearly  as  incapable 
of  understanding  the  nature  of  pitch  accents  as  we  are.  Prof.  Key  has  justly 
pointed  out  that  they  always  speak  of  the  laws  of  accent  in  the  past  tense 
'habuit,  not  habet.  (Tr.  Ph.  Soc.  1873—4,  p.  36). 


Art.  43— 49.]  VERSE  RHYTHM.  33 

Read  at  first  with  the  pendulum  or  tap  of  the  finger. 
Place  stress  at  first  on  the  first  syllable  of  each  spondee 
and  dactyle,  afterwards  vary  it  much,  and  see  that  it  does 
not  disturb  the  quantitative  rhythm. 

ART.  44. — Next  take  lines  beginning  with  two 
spondees,  and  hence  with  five  long  syllables,  as  A.  3,  6, 
19;  B.  5;  C.  9. 

ART.  45. — Then  lines  with  a  spondee  followed  by 
dactyle,  as  A,  4,  10,  14,  17,  18,  20,,  22  ;  B.  i,  3,  6 ;  C.  5, 
14,  16,  18;  D.  8. 

ART.  46. — Then  those  which  have  a  dactyle  and 
spondee,  and  hence  begin  with  a  choriambus,  as  A.  i, 
9,  n,  13,  16;  B.  8,  9;  C.  n,  12,  17  ;  D.  5,  9. 

ART.  47. — Then  those  with  two  dactyles,  as  :  A.  2,  5, 

7,  8,  12,  22,  25  ;  B.  7  ;  C.  4,  6,  7,  8,  15  ;  D.  2,  7,  n. 
ART.  48. — Observe  the  difference  of  rhythmical  effect 

in  each  of  the  cases  (Art.  43)  to  (Art.  47).  Observe  the 
mode  in  which  lines  differ  which  begin  with  the  same 
feet,  owing  to  the  different  division  of  the  words,  and 
hence  the  different  positions  of  the  raised  pitch  among 
the  quantitative  feet. 

ART.  49. — Observe  particularly  the  effect  of  breaking 
the  third  or  fourth  foot  by  a  caesura,  by  means  of  which 
a  low  pitch  is  secured  for  the  beginning  of  the  third  or 
fourth  foot.  Examples  :  Break  of  third  foot  A.  i,  4,  5, 

8,  10,  ii,  13,  14,  15,  17,  18,  19,  21,  22,  24.     Break  of 
fourth  foot  A.  2,  3,  6,  23.     Half  break,  not  at  the  end 
of  the  first  long  syllable  of  the  foot  but  at  the  first  short 
syllable,  A.  9,  causing  a  markedly  different  distribution  of 
the  pitch  of  the  voice.     The  case  of  A.  7,  12,  16,  20, 
where  the  break  occurs  on  a  vowel  which  is  omitted  in 
the  present  exercises,  really  belongs  to  this  class. 

D 


34  VERSE  RHYTHM.  [Art.  50,  51. 

ART.  50. — Observe  the  constant  form  of  the  final 
cadence,  almost  always  dactyle  and  spondee,  with  the 
high  pitch  on  the  first  syllable  long  of  each.  The  only 
exception  in  (A.,  B.,  C.,)  is  (B.  2).  Observe  the  re- 
markable effect  of  pitch  in  that  line.  This  is  very  rare 
in  Virgil's  poetry,  and  seems  always  to  have  been  in- 
troduced for  a  purpose.  Only  some  42  examples  occur 
in  his  works,  but  such  cases  are  commoner  in  Lucretius. 
Characteristic  cases  are — 

Turn  variae  illudunt  pastes;  saepe  exigiuis  mils. 

Ceo.  I.  181. 
Illic,  ut  perhibent,  aut  intempesta  silet  nox. 

Geo.  I.  247. 
Prima  vel  auctumnl  sub  frigora,  quum  rapidus  sol. 

Geo.  n.  321. 
Ipse  ruit,  dentesque  Sabellicus  exacuit  sus. 

Geo.  in.  255. 
Dat  latus,  insequitur  cumulo  praefuptus  aquae  mons. 

Aeu.  I.  105. 
Vertitur  interea  coelum  et  riiit  oceano  nox. 

Aen.  ii.  249. 
Sternitur  exanimusque  tremens  procumbit  hum!  bos. 

Aen.  V.  481. 

There  can  hardly  be  better  illustrations  of  the 
effect  of  pitch  accent  in  Latin  verse.  The  ordinary 
method  of  reading  produces  hideously  unrhythmical 
results. 

ART.  51. — The  following  are  Virgilian  examples  of 
p,  different  cadence  : 

Cara  deiim  soboles  magni  Jovis  incrementum 

EC.  iv.  49. 

Aut  le'ves  ocreas  lento  diicunt  argento. 

Aen.  VII.  634. 


Art.  51—53.]  SLURRED  VOWELS.  35 

And  the  two  are  united  in  : 

Cum-  patribus  populoque,  pena'tibus  et  magnis  dis. 

Aen.  vill.  679. 

ART.  52. — Having  thus  attuned  the  ears  of  pupils  to 
quantitative  rhythm  as  modified  by  variable  pitch,  we 
can  approach  the  consideration  of  the  real  treatment  of 
final  vowels  followed  by  other  vowels,  and  of  the  final  m 
before  vowels  and  consonants. 


VI.  Slurred  Vowels. 

ART.  53. — Take  the  case  of  a  vowel  ending  one  word 
and  a  vowel  beginning  the  next,  when  the  two  vowels 
are  rhythmically  reckoned  together  as  one  syllable.  With 
this  case  consider  that  where  the  second  word  begins 
with  H.,  because  this  H.  never  made  position,  and  had 
probably  no  hissing  effect,  so  that  it  readily  died  out.1 

1  The  chommoda  hinsidias,  and  hwnios  for  commoda  insidids  and  lonios, 
mentioned  in  Catullus  (Ixxxii.  or  Ixxxiv. )  may  have  had  a  iully  hissed  h,  because 
they  were  mere  detects  of  utterance  arising  from  an  explosive  manner  with  which 
we  are  very  familiar  in  English,  especially  from  uneducated  speakers  who  try  to 
do  their  bitter  best  (et  tune  mirifice  sperabat  se  esse  locutnm,  Quum,  quantum 
Poterat,  dixerat  ^insidias),  and  of  course  Catullus  had  no  means  of  expressing 
the  two  varieties.  In  fact  only  one  h  occurs  in  writing,  and  phonologists  are 
driven  to  great  straits  to  express  the  many  varieties  with  which  they  are  now 
acquainted.  (See  my  paper  in  the  Academy  for  17  January  1874,  on  a  Physica 
Theory  of  Aspiration).  The  words  of  Cicero  and  Quintilian,  and  the  slurring  of 
vowels,  which  would  be  disturbed  by  the  interposition  of  vocalised  breath,  lead 
me  to  consider  that  the  Augustan  Latin  h  was  merely  a  forcible,  jerked  utterance 
of  the  following  vowel,  without  any  unvocalised  breath,  exactly  as  now  in  India 
for  the  combinations  bha,  dha.  gha,  &c.,  produced  in  the  way  explained  on  p.  6 
n.  2,  Cicero  says  :  quln  ego  ipse,  cum  sclrem  ita  majores  locutos  esse,  ut  nusquam 
nisi  in  vocall  adsplratione  uterentur  loquebar  sic,  ut  pulcros  cetegos  triumpos 
Kastdginem,  dlcerem :  aliquando,  idque  sero,  convlcio  aurium,  cum  extoita 
rnihi  veritas  esset,  usum  loquendl  populo  concessl,  scientiam  mihi  reservavi. 
Orclvios  tamen  et  matones,  otones,  Caepiones%  sepulcra,  coronas,  lacrymds  dici- 
nuis,  quia  per  aurium  judicium  semper  licet  (Cic.  Or.  §  160).  Quintilian  writes  : 

D    2 


36  SLURRED  VOWELS.  [Art.  53, 

Cicero  (see  Q.)  objects  strongly  to  open  vowels,  which 
he  considered  to  gape  (Jiidre),  or  io  meet  with  a  shock 
(concur sus,  conjungere).  Yet  in  his  writings  there  are 
constant  cases  of  open  vowels;  thus  in  (Q.)  itself: 
legendo  oculus  (i),  ne  extremorum  (2),  si  inconditis  (5), 
nemo  ut  (7),  illae  ipsae  horridulae  (io),  qul  ut  (n),  saepe 
hiabant  (n).  It  is  evident,  therefore,  that  these  cases 
were  to  him  quite  different  from  :  sclpio  invicte  (12),  and 
etesiae  in  (13),  where  the  open  vowel  made  a  distinct 
syllable,  and  that  it  must  have  been  this  habit  of  allowing 
open  vowels  to  form  a  distinct  syllable  which  he  found 
so  offensive  in  Greek,  and  which  he  declared  that  Roman 
ears  could  not  endure  if  frequently  repeated  (Q.  6,  13), 
and  it  must  have  been  this  separation  which  he  contem- 
plated when  he  said  that  no  Roman  was  allowed  to  pull 
his  words  asunder  (distrahere  voces,  Q.  9).  To  Cicero 
therefore  two'  vowels  thus  situated  formed  one  syllable 
in  prose,  as  in  verse.  There  is  not  even  a  hint  that  the 
first  vowel  was  dropped.  Whenever  this  occurred  in 
Greek  the  vowel  was  not  written,  a  habit  followed  by 

ilia  vero  nonnisi  aure  exiguntur,  quae  flunt  per  sonos  ;  quanquam  per  asplra- 
tionem,  slve  adjicitur  vitiose  sive  detrahitur,  apud  nos  potest  quaeri  an  in  scripts 
sit  vitium  ;  si  H  litterae  st,  non  nota.  ['*  If  H  is  a  letter,"  i.e.  represents  a  separate 
sound,  and  "not  a  mark,"  i.e.  represents  an  initial  modification  of  sound  ;  this  is 
I  believe  the  real  distinction  meant  by  those  many  orthographers  who  since 
Quintilian's  time  have  disputed  whether  H  is  or  is  not  a  letter}.  Cujus  quidem 
ratio  mutata  cum  temporibus  est  saepius.  Parcissime  ea  veteres  us!  etiam  in 
vocalibus,  cum  oedos  ircdsgue  dlcebant,  difi  deinde  servatum,  ne  consonantibus 
asplrarent,  ut  in  Graecls  et  in  triumpis,  erupit  brevl  tempore  nimius  usus,  ut 
choronae,  ckenturwnes,  praechones,  adhuc  quibusdam  inscriptionibus  maneant, 
qua  de  re  Catulli  nobile  epigramma  est  [just  cited].  Inde  durat  ad  nos  usque 
vehementer  et  comprehendere  et  miki,  nam  mehe  quoque  pro  vie  apud  antlquos 
tragoediarum  praecipue  scriptores  in  veteribus  librls  invenimus  (i.  5,  19 — 21). 
It  is  evident  that  Quintilian's  h  was  very  small  indeed,  the  precursor  of  its 
French,  Italian,  and  Spanish  evanescence,  where  it  is  really  merely  a  diacritical 
sign,  or,  as  we  shall  find  Quintilian  says  of  w,  merely,  inter  duas  vocales  velut 
nota  est,  ne  ipsae  coeant  (9,  4,  40). 


Art.  53,  54.]  SLURRED  VOWELS.  37 

modern  writers  generally  in  Italian,  German,  and  English.1 
French,  however,  does  not  cut  out  the  mute  vowel  except 
in  monosyllables,  because  of  a  general  rule  of  pronun- 
ciation. In  French  verse,  except  in  very  few  cases,  no 
open  vowels  at  the  end  of  words,  not  even  open  nasalised 
vowels  are  permitted.  In  the  middle  of  a  word,  how- 
ever, open  vowels  occur  in  French,  making  two  syl- 
lables, and  this  was  also  the  case  in  Latin ;  compare : 
conticu-ere  (A.  i),  aene-as  (A.  2),  eru-erint  (A.  5),  fu-i 
(A.  6),  incipi-am  (A.  13),  e-a  (A.  17),  pri-aml  (A.  22), 
stati-6  (A.  23),  abi-isse  peti-isse  (A.  25),  and  frequently. 
But:  svadent  (A.  9),  abjete  (A.  16),  were  exceptions, 
which  I  have  indicated  by  using  consonantal  forms  /,  v, 
without  being  certain  that  the  true  consonants  were 
spoken.  There  was  no  necessity  therefore  for  a  Latin 
tongue  to  connect  concurrent  vowels  into  one  syllable, 
but  it  habitually  did  so  when  the  two  vowels  belonged 
to  different  words.  It  was  a  habit,  not  a  necessity  of 
speech,  but  a  habit  on  which  versification  reposed. 

ART.  54. — Now  in  Spanish  and  Italian,  the  two 
Romance  languages  most  like  the  Latin,  we  find  the  same 
ability  to  separate  vowels  internally,  and  the  same  habit 
of  connecting  them  between  words.  In  (S.),  containing 
the  two  first  stanzas  of  Tasso's  Jerusalemme,  28  instances 
of  vowels  thus  connected  (marked  by  J)  occur  in  16 
lines.  In  (S.  3) :  senno^,  e,  this  connection  occurs  with  a 
pause  after  the  first  vowel,  and  in  (S.  5) :  s'oppose^,  ejn- 
vano,  not  only  is  there  a  pause  after  the  first  vowel,  but 

1  In  older  English  when  the  final  e  was  still  a  distinct  syllable  before  a  con- 
sonant, there  is  reason  to  believe  that  it  was  entirely  omitted  before  a  following 
vowel,  and  generally  even  before  a  following  h,  and  although  it  was  still  re- 
tained in  writing,  as  indeed  it  still  is  in  most  cases,  it  has  long  ceased  to  be 
sounded  in  any  way.  This  is  not  the  case  even  in  modern  high  German. 


38  SLURRED  VOWELS.  [Art.  54—56. 

there  are  three  vowels,  e  -e  -i.  reckoned  to  form  one 
syllable.  On  the  other  hand  there  are  real  omissions  of 
vowel  before  vowel  in:  l(e)  armi,  e(i)l  (i),  che  (i)l  (2), 
l(o)  inferno,  s(i)  oppose  (5),  d(i)  asia  (6),  s(e)  adorno 
(15),  d(i)  altri  (16).  But  the  principal  omissions  are 
before  consonants,  as  gran(de)  sepolcro  (2),  popol(o) 
misto  (6),  ciel(o)  gli  (7).  And  there  are  other  omissions 
so  common  as  to  be  unwritten,  as,  e  for  ed,  a  for  ad,  col 
for  collo  which  again  stands  for  con  lo. 

ART.  55. — Now  it  is  easy  to  hear  what  Italians  actually 
say  in  verse,  and  especially  in  singing,  on  account  of  our 
Italian  operas,  but  it  is  necessary  to  distinguish  between 
an  Italian  singer  and  a  singer  of  Italian,  who  is  frequently 
a  foreigner,  and  hence  of  no  authority  for  pronunciation. 
It  will  be  found  that  such  singers  let  all  the  written 
vowels  be  heard,  but  yet  bring  them  on  to  one  single 
musical  note,  which  may  be  itself  very  short.  The 
following  are  cases  from  well-known  pieces  of  music, 
(technically  called  "numbers")  in  the  Nozze  di  Figaro. 
The  hyphen  is  used  to  shew  the  vowels  forming  one 
syllable  in  two  words,  and  the  superior  figures  shew  the 
relative  lengths  of  the  syllables  as  indicated  by  the 
music,  and  as  invariably  observed  by  the  native  singers. 

ART.  56. — Nozze  di  Figaro,  No.  2,  se-a1  ca2soT,  che1 
vuol2  mi-il1  paIdroTne1,  se-u'dir*  brasmi-il1  res2to2,  diTscac2- 
cia-i1  sosIpet2ti1.  But  with  the  pause  between  two  lines 
of  verse  :  se-il1  matIti2noT  il2  ca2roT,  il1  ca2roj  il1  ca2rox. 

No.  3,  very  quick  time  .  Tar2te-aIdoIpran2do2. 

No.  4,  quick :  e-un3  pia*cer2  ser2ba3to-air  sag'gi1. 

No.  7,  quick,  to  shew  the  effect  of  the  pause  :  (sepa- 
rated) tos3to-anIda2te2 — e3  scac3cia2te2— il2  se3dutr  tor2; 
(connected)  tos6to-an2da4  te-e3  scac'ciaste-il1  se3dutTtor2. 


Art.  56-58.]  SLURRED   VOWELS.  39 


No.  9,  non3  piu-anMrai*  fai^faHo*  ne-a3moT  ro4so4. 
No.  12,  ve2ni3te-inIgi3noc1chiaIteTvi2. 
ART    57.  —  This    practice    seems    to   have   preserved 
classical  traditions  better  than  the  medieval  Latin  hymns, 
which  allow  open  vowels  to  form  syllables,  and   know 
no  quantity,  as  in  the  following  prayer  of  St.  Bernhard 
(H.  A.  Daniel's  Thesaurus  Hymnologicus,  vol.  iv.  p.  228, 
Leipzig  1855),  where  the  '"marks  open  vowels,  the  (•)  the 
louder  syllables.     For-  the  pronunciation  see  (Art.  114). 

*~V  .      x*. 

Dilata're*  aperi're  A^J 

Tarrquam  ro'sa  fra*  grans  mi're  A 

Cor'di  me*o  te  conjuirge  ^       >^V 

Un'gue*  il'lud  et  compuirge  '   ,O^          S^         *^ 

Qui*  a  "mat  te',   quid  pa'titur?,^ 

Vi'va  cor'dis  vo'ce  cla'mo,  ^^V        ^*V        ^^      / 

Dul'ce  cor,   te  nam'que*  a  'mo     ^^         /S^       ^»^ 
Ad  te*  o'ret,  ad  te  plo'ret       ^^  ^ 

Te*  ado  "ret,  te*  hono'ret.     ' 


And  so  on.     All  of  this,  if  it  could  fefe.r?a!d 

Jr 

Augustan  Roman  according  to  his  own  habits,  wouj^f 
sound  horrible  to  him,  and  shew  a  most  monstrous 
ignorance  of  versification. 

ART.  58.  —  The  practical  rules  hence  deduced  for  Latin, 
are  as  follows  : 

a.  When  a  vowel  ends  one  word,  and  a  vowel,  (pre- 
ceded or  not  by  H,)  begins  the  next,  pronounce  both 
vowels,  quite  distinctly  and  audibly. 

b.  When  there  is  no  pause  between  the  words,  run 
on   the  vowels  closely  together,  and  make  the  time 
occupied  by  the  two  sets  of  vowels  in  the  one  syllable 
no-  longer  than  is  required  by  the  laws  of  the  verse. 
The  length  of  both  will  therefore  have  to  be  altered. 


40  SLURRED   VOWELS.  [Art.  58,  59. 

Thus  syllabise  (B.  8)  hae2-tir-bieI-run2'-tar2-tes2-pa2-cis2- 
queim2-  poMie'-re1-  m62-re2,  so  that  bie  has  only  half 
the  length  of  queim.  Similarly  :  Pal2las2  tehoc2  vul2- 
neTrez,  PaHas2,  AEN.  xii.  948. 

c.  When  there  is  a  pause  between  the  two  words, 
the  conjunction  of  the  two  vowels,  and  the  accuracy 
of  the  time,  becomes  (like  the  Italian  syllable)  rather 
a  matter  of  "  faith "  or  practised  acknowledgment, 
than  of  real  audition,  but  generally  one  of  the  two 
syllables  should  be  unduly  shortened  to  indicate  the 
effect.  Thus  (A.  25)  nos2  aIbiIis2se1  rar(tl,  et)2  ven2to2, 
&c.,  ti,  may  be  i%  and  et  only  \  •  or  tl  being  nearly 
fully  2,  et  will  be  nearly  evanescent,  (D.  8)  m62men2 
(to  aut)2  ci'ta1  mors2,  the  to  and  aut  may  each  be 
only  i.  But  in  all  cases  the  effect  of  long  and  short 
vowels  and  diphthongs  would  be  indicated  by  a  prac- 
tised speaker,  and  was  no  doubt  felt  by  the  poet. 
As  this  practice  is  similar  to  the  slurring  of  notes  in 
music,  I  call  it  by  the  same  name.  See  also  (Art.  61). 

ART.  59. — It  is  evident  that  when  two  words  are 
closely  united  by  slurring  their  final  and  initial  vowels, 
they  might  be  difficult  to  separate  by  the  ear.  The 
mode  in  which  words  are  connected  in  all  languages 
causes  a  difficulty  of  the  same  kind  to  foreigners,  which 
no  native  feels  when  he  hears  them  spoken,  because  he 
would  feel  any  other  way  of  pronouncing  them  in  a 
phrase  so  "  unnatural,"  that  is  unusual,  that  he  might  fail 
to  catch  the  sense  (p.  19).  In  modern  writing  it  is 
customary  to  assist  the  eye  by  separating  the  words 
without  indicating  the  mode  of  connection.  In  Sanscrit 
however  the  mode  of  connection  is  always  written,  and 
the  native  commentators  have  laid  down  rules  for  discover- 


Art.  59-61. ]  SLURRED   VOWELS.  41 

ing  the  separate  from  the  connected  form.  In  some  lan- 
guages as  English  and  French,  the  position  of  the  greatest 
force  varies  under  different  forms  of  combination,  and 
hence  great  difficulties  arise  to  foreigners  when  they  hear 
the  languages  spoken,  which  entirely  vanish  when  they 
see  them  written. 

ART.  60. — In  Latin,  however,  the  strict  laws  of  the 
position  of  the  highest  pitch  must  have  clearly  separated 
the  words,  however  closely  they  were  run  together.  Every 
word  (with  the  exceptions  already  noted)  had  one  syllable 
spoken  in  a  higher  pitch  than  the  rest,  and  only  one, 
and  that  syllable  was  never  the  last  (in  polysyllables) 
and  never  further  off  than  the  last  but  two  (Art.  41). 
Hence  con-ti-cu-e-reom-nes  (A.  i),  re-ge-reim-pe-rio  (B.  6), 
pro-pi-ahaec  (C.  4,  where  ae  marks  a  circumflex  on  a 
diphthongal  form,  or  digraph),  fa'-taas-pera  (C.  15)  &c. 
were  clearly  separated  as  two  words  by  their  two  raised 
pitches.  Observe  the  combinations  -reom-,  -taas-  in  the 
first  and  last  instances.  Here  the  first  vowel  is  in  a  low 
pitch,  and  the  second  in  a  high  one,  so  that  we  might 
write  -reom-,  -taas-,  the  effect  being  a  wave  up,  or  a  re- 
versed circumflex,  which  is  a  wave  down  (haec).  In 
some  cases,  where  the  word  on  to  which  the  slur  was 
made  had  a  low  pitch,  this  would  appear  to  fail ;  but  in 
reality  such  a  word  was  habitually  treated  as  part  of  the 
next,  thus  :  deserto  in  li'tore  (A.  24)  were  really  felt  to  be 
divided  :  deserto  inll'tore,  that  is,  they  were  treated  as 
two  words,  not  three.  When  slurred  they  became  :  de- 
ser-toin-lf-to-re. 

ART.  6 1. — Perhaps  then  we  may  supplement  the  rules 
in  (Art.  58)  by  the  following  practical  usages. 

If  the  first  of  the  two  slurred  vowels  is  short  and  also 


42  SLURRED  VOWELS.  [Art.  61,  62. 

low  in  pitch,  make  it  still  shorter,  so  that  the  full  length 
of  both  vowels  makes  up  only  the  un slurred  length  of  the 
second  vowel,  thus  in  quae-queip-se  (A.  5),  ei  takes  up 
the  time  of  one  ordinary  short  vowel  only. 

If  the  first  vowel  is  long,  whether  high  or  low  in  pitch, 
and  the  second  short  and  low  in  pitch,  the  second  vowel 
is  most  shortened  and  may  almost  entirely  vanish,  as  de- 
ser-toin-lf-tor-re  (A.  24).  But  if  the  first  vowel  is  low 
in  pitch  and  the  second  high  in  pitch,  the  second  vowel 
though  short  must  be  made  long  enough  to  bring  out  the 
effect  of  its  higher  pitch,  as  : 

Quam  lepide  lexeis  compos-taePut  tesseru-laeom-nes, 
cited  from  Lucllius  by  Cicero  (Or.  §  149),  where  lexeis 
may  be  read  le'xls.1     This  is  probably  a  rare  case,  and 
no  example  of  it  occurs  in  the  Appendix  below. 

If  both  vowels  are  long,  perhaps  that  of  highest  pitch 
might  have  had  the  greatest  length  in  the  slur  as,  sub 
anti'-qual'-lice  (L.  9). 

ART.  62. — If  Cicero  is  not  exaggerating  (Q.  8)  similar 
usages  must  have  been  even  more  strictly  observed  in 

1  Of  course  it  is  not  easy  to  say  what  were  the  sounds  of  pre-Augustan  ei,  oi, 
at,  u>7,  ou,  and  I  do  not  enter  upon  the  question  here.  But  Quintilian  seems  to 
have  considered  ei  to  be  a  mere  digraph  for  J,  and  the  passage  is  noteworthy 
because  it  also  seems  to  shew  that  he  pronounced  the  Greek  e<  as  z  also.  Semi- 
vocales  geminare  diu  non  fuit  usitatissiml  moris,  atque  e  contrario  usque  ad 
Accium  [born  B  c.  170,  and  lived  to  a  great  age,  so  that  Cicero  as  a  young  man 
conversed  with  him,  if  the  words  of  Cic.  Br.  §  107,  are  to  be  taken  in  this  sense], 
et  ultra  porrectas  syllabas  gemims,  ut  dixf  [referring  to  I.  4,  10,  see  (Art.  88) 
note],  v5calibus  scripserunt.  Diutius  diiravit,  ut  EI  jungendls  eadem  ratione 
qua  Graecl  ei  uterentur ;  ea  casibus  numerlsque  discreta  est,  ut  Lucllius  prae- 
cipit:  Jam piie-rei  venere,  E postreimun  facito  atque  /,  Ut puert  pluresflant ; 
ac  deinceps  Idem:  Menddcl  jurlqrie  addes  JE,  cutn  darefurei  Jiisseris.  Quod 
quidem  cum  supervacuum  est,  quia  I  tarn  longae  quam  brevis  naturam  habet, 
turn  incommodum  aliquando.  Nam  in  ils,  quae  proxima  ab  ultima  litteram  E 
habebunt  et  I  longa  terminabantur,  illam  rationem  sequentes  utemur  E  gemina, 
qualia  sunt  haec  aursl,  argentel  et  similia  (i.  7,  14—16).  We  shall  therefore  be 
as  right  as  Quintilian  (though  he  may  have  been  wrong),  if  we  pronounce  Latin  ei 
and  Greek  e<  as  I. 


Art.  62—64.]  FINAL  M.  43 

prose.  Of  course  exceptions  occurred  in  actual  usage, 
but  in  our  present  state  of  ignorance  we  cannot  do 
better  than  strictly  carry  out  an  intelligible  rule  which 
most  probably  held  in  the  great  variety  of  cases. 

ART.  63. — The  next  step  is  therefore  to  read  the 
examples  in  the  Appendix  in  the  same  sing-song  manner 
as  before,  with  the.  same  strict  regard  to  quantity,  but  in 
place  of  leaving  out  the  vowels  preceding  w,  slurring 
them  on  to  the  following  vowels,  paying  great  attention 
to  the  alteration  of  pitch.  The  little  m  between  two 
vowels  must  be  entirely  neglected,  the  vowels  being 
slurred  as  if  it  did  not  exist,  but  the  m-  final  must  at 
present  be  pronounced  as  the  following  consonant.  The 
proper  treatment  of  this  last  case  forms  the  next  step. 

VII.  Treatment  of  Final  M. 

ART.  64. — The  two  facts  to  be  accounted  for  are,  that 
in  all  Augustan  verse  (and  consequently  in  all  literary 
Latin  verse  of  a  later  period,  because  it  is  a  mere  imita- 
tion of  the  Augustan) : — 

a.  Final  m,  did  not  prevent  the  preceding  vowel  of 
its  own  word,  and  the  following  vowel  of  the   next, 
from   being   reckoned    as   one   syllable,    precisely   as 
would  have  been  the  case  if  no  m  had  intervened. 

b.  Final  m,  followed  by  a  word  beginning  with  a  con- 
sonant, invariably  "  made  position,"  that  is,  made  the 
syllable  which  it  terminated  long. 

Both  cases  might  occur  to  the  same  word,  even  when 
a  monosyllable,  and  in  the  same  line,  as  to  dum  in 

Jam  satis  est !  dum  aes  exigitur  dum  mula  ligatur. 

HOR.  Sat.  I.  5,  13. 


44  FINAL  M.  [Art.  65,  66. 

ART.  65. — The  conclusion  is  inevitable  that  m  had 
a  different  effect  in  the  two  positions,  and  that  if  the 
letter  ;;/  were  preserved  in  writing  for  both  cases  it  was 
simply  from  etymological  reasons,  to  assist  the  eye,  the 
alteration  of  sound  proceeding  by  a  rule  known  to  all 
Augustan  Romans, — though  a  matter  of  difficult  inquiry 
2000  years  afterwards.  We  have  several  similar  in- 
stances in  Quintilian  (i.  7,)  such  as  obtinuit  written  for 
opinuit  said,  and  inmunis  for  immunis.1  It  is  quite 
clear  from  inscriptions  that  a  revision  of  orthography 
took  place  at  the  Augustan  period,  and  was  continued 
in  later  periods.  We  know  that  cum  in  particular  was 
quum  as  a  conjunction,  and  cum  as  a  preposition,  and 
ad  was  the  preposition,  at  the  con-junction.2  With 
regard  to  the  alteration  of  cum,  in  in  composition, 
some  orthographical  varieties  occur,  but  that  in  all 
cases  the  final  m,  n  was  accommodated  to  the  following 
letter  there  is  no  doubt,  as  :  compono,  conficio,  corrumpo,r 
colludo,  conduce,  coeo,  cohaero.3 

ART.  66. — The  same  custom  of  writing  the  final  con- 
sonant in  the  same  way,  in  order  that  the  eye  might  re- 
cognize the  word,  although  in  speech  various  combina- 
tions changed  its  sound  and  the  ear  always  readily 

1  Quaeri  solet,  in  scrlbendo  praepositiones,  sonum  quern  junctae  efficiunt,  an 
quern  separatae,  observare  conveniat  [this  precisely  applies  to  all  other juncturae], 
ut,  cum  dico  obtinuit,  secundam  enim  b  litteram  ratio  [knowledge  of  verbal  de- 
rivation], poscit,  aures  magis  audiunt  p',  et  immunis,  illud  enim  quod  veritas 
exigit,  sequentis  syllabae  sono  victum  m  gemina  commutatur.  Quint,  i.  7,  7. 
We  see  then  that  "ratio"  was  allowed  to  lord  it  orthographically  over  "aures" 
even  in  Quintilian's  time. 

a  I'la  quoque  servata  est  a  multls  differentia,  ut  ad,  cum  esset  praepositio,  d 
litteram,  cum  autem  conjunctio.  t  acciperet  :  itemque  cum,  si  tempus  significant 
per  q>,  si  comitem  per  c  ac  duas  sequentes  scriberetur  (Quint,  i.  7,  5). 

3  Prof.  Blair  (pp.  cit.  p.  95),  refers  to  "Lachmann  on  Lucretius,  p.  136,  touching 
the  forms  ccxrpertuS)  cocoieretiir,  coicere  coventionid,  connbium,  cojnovis&e,  cog- 
nomen &c." 


Art.  66,  67.]  FINAL  M.  45 

recognized  it  under  its  various  forms,1  is  common  to 
many  languages.  Thus  in  French  the  final  consonant  is 
generally  written  though  almost  invariably  omitted  in 
speech  before  a  consonant;  compare  un  peti(f)  cheval, 
with  un  petit  dne,  which  is  precisely  contrary  to  the  appa- 
rent Latin  usage  with  regard  to  m.  In  other  French 
words,  as  a  for  Latin  habet,  the  final  consonant  is  so 
usually  lost  that  it  is  not  written  unless  when  accidentally 
pronounced,  so  that  the  moderns  regard  it  as  a  mere 
euphonic  introduction,  as  il  en  a,  en  a-t-il? 

ART.  67. — There  is  a  singular  usage  in  Dutch  where 
before  a  word  beginning  with  b  and  d,  any  unvoiced 
letter  as/,  k,f,  s,  is  voiced,  thus  zee/bak,  o/doen,  strij£- 
bout,  stie/broeder,  mudaal  are  written,  but  the  italic/,  k, 
/,  s,  are  pronounced  as  English  £,  g,  v,  z9  nearly  as 
zeb'bak,  ob'dun,  streig'bout,  stivbrirder,  miz'dad  in  Latin 
letters,  and  singularly  enough  this  is  the  only  case  in 
which  the  sound  of  English  g  can  occur  in  Dutch.  On 
the  contrary  z>,  z,  g,  become  /,  s,  ch  (guttural)  after  all 
preceding  consonants  except  r :  thus  in  voe^rouw,  stie/^ 
soon,  a^rund,  the  Italic  letters  are  to  be  pronounced,  as 
tf>  fs>  fch  (cn  guttural)  respectively,  as  vuffrou  stif'son 

1  Writing  can  express  but  a  small  part  of  speech,  leaving  much  to  be  supplied 
by  the  reader's  habits.  The  tone  of  voice,  the  rising  and  falling  of  pitch  and 
loudness,  the  pauses  of  speech,  and  so  on,  which  form  so  many  little  com- 
mentaries upon  the  meaning  of  the  words,  are  yet  so  difficult  to  indicate,  that 
writing  has  seldom  grappled  with  them,  except  to  a  very  small  extent.  Hence 
the  speaker,  who  knows  the  concrete  effect,  is  generally  ignorant  of  its  com- 
position. Writing  therefore  seeks  by  various  contrivances  to  let  him  know  the 
word  intended,  leaving  him  to  alter  it  for  the  occasion,  as  he  does  usually 
"by  nature,"  that  is,  by  a  habit  acquired  in  childhood  and  confirmed  by  the 
practice  of  all  around  him.  Horace's  maxim  (A.  P.  180), 

Segjiius  irritant  animos  demissa  per  aurem, 

Quam  quae  sunt  oculls  subjecta  fidelibus, 

which  should  never  be  separated  from  its  context,  does  not  apply  to  the  case  of 
speech  and  writing. 


46  FINAL  M.  [Art.  67—69. 

af'xrund,  in  Latin  and  Greek  letters.  Dutch  is  a  language 
in  which  the  orthography  has  been  revised  within  the  last 
hundred  years.  Hence  we  must  not  be  surprised  at 
a  single  written  final  form  in  -;//  being  retained  in  Latin, 
on  a  revision  of  orthography,  for  cases  where  "junctura" 
alone  constantly  altered  its  effect. 

ART.  68. — Now  in  Latin  the  neglect  of  m  between 
two  vowels,  was  not  a  phonetic  necessity  of  the  language. 
Thus  if  the  m  belonged  to  the  second  word  there  was  no 
difficulty :  suave  marl  was  a  choriamb,  not  a  cretic,  as 
suavem  ard  would  be.1  If  the  m  occurred  in  the  middle 
of  the  word  as,  maxima,  amet,  there  was  also  no  slurring 
of  the  vowels.  The  loss  of  m  must  therefore  have  been 
merely  a  habit  of  speech. 

ART.  69. — And  in  this  respect  we  may  observe  that 
the  termination  -en  so  frequent  in  German  and  old 
English  has  disappeared  in  South  Germany,  and  in 
literary  and  even  most  dialectal  English.  The  first  step 
was  to  neglect  n  simply,  and  then  to  pronounce  e,  and  in 
this  stage  we  frequently  find  the  transition  still  in  Ger- 
many. In  old  English  the  -e  final  thus  left  was  neglected 
before  a  following  vowel  in  verse,  and  consequently  we 
have,  in  an  older  state  of  our  own  language,  an  exact 
counterpart  of  the  Latin  neglected  m. 

1  This  fact  I  think  conclusively  disposes  of  Prof.  Blair's  suggestion.  Referring 
to  Priscian's  obscure  final  m,  in  such  a  phrase  as  nunqiiam  ego,  he  says  "  the 
final  ;;z  is  almost  nothing  (paene  nullius  vocis),  as  far  as  nunquam  is  concerned, 
\s\\\.  Passes  over  in  a  'weak  utterance  to  join  the  e,  of  ego  closely  following^  thus  : 
iiunqua'  mego,  with  which  we  may  compare  English  d  in  the  connection  baffled 
investigation,  if  pronounced  baffle1  dinvestigation"  (op.  cit.  p.  99).  But  in  the 
first  place  I  never  noticed  any  Englishman  so  pronounce,  and  should  consider  it 
accidental  if  I  had  observed  anything  of  the  kind,  and  in  the  second,  the  d  in 
English  baffled  is  quite  distinct  and  may  not  glide  on  to  a  following  vowel.  Blair 
founds  his  notion  of  this  "sort  of  mumbled  connection,"  as  a  "passing  over"  of 
the  in  to  the  following  vowel  on  an  expression  in  Quintilian,  "  ut  in  earn  trans- 
Ire  possit "  (9,  4,  40),  which  will  be  considered  hereafter.  See  (Art.  88). 


Art.  70—72.]  FINAL  M.  47 

ART.  70.  — Quintilian,  when  comparing  Latin  and 
Greek  sounds  to  the  disparagement  of  the  former  and 
glorification,  of  the  latter,  speaks  of  the  Latins  termi- 
nating so  many  words  with  the  "  lowing  "  letter  m  which 
was  never  used  in  Greek,  where  it  was  replaced  by  the 
"  pleasant  ringing"  n.T  But  Quintilian  we  know  from  the 
context  was  exaggerating,  and  his  "  lowing  "  m  was  merely 
an  eye-sore,  while  the  "  ringing "  nature  of  n  as  distinct 
from  ;;/,  is  as  we  know  from  the  difficulty  felt  in  English 
printing  offices  to  distinguish  the  very  names  of  the 
letters  en,  em?  at  the  least  strongly  imaginative.  The 
passage  is  not  one  on  which  we  can  rely,  and  is  in  fact 
opposed  to  other  more  careful  dicta  of  the  same  author. 

ART.  71. — Now  the  question  is,  how  was  this  final  ;// 
treated  in  both  cases  by  Latin  contemporary  writers? 
We  have  no  manuscripts  in  which  the  orthography  is  of 
the  slightest  antiquarian  value.  We  are  driven  therefore 
to  inscriptions,  (of  which  the  orthography  was  very 
formal,)  and  to  the  occasional  references  to  older  prac- 
tices in  later  writers. 

ART.  72. — A  large  number  of  cases  in  which  m  was 
omitted  in  accusative,  and  genitive  plural,  and  a  rather 
larger  number  of  cases  in  which  it  was  written,  in  in- 
scriptions, have  been  given  by  Corssen  (I.  267 — 271), 

1  Quid?  quod  pleraque  nos  ilia  quasi  mugiente  littera  cludimus  ;;*,  quanullum 
Graece  verburn  cadit :  at  illi  n  jucundam,  et  in  fine  praecipue  quasi  tinniemem 
iillus  loco  ponunt,  quae  est  apud  nos  rarissima  in  clausulls  (12,  10,  31). 

2  When  in  the  years  1847 — 9,  I  had  a  printing  office  of  my  own  for  the  purpose 
of  printing  English  phonetically  (issuing  among  other  things,  the  Phonetic  News, 
a  weekly  newspaper),  and  had  the  three  types  for  the  sounds  of/;/,  n,  ng,  in  sum, 
sun,  sung,  my  compositors  found  it  absolutely  necessary  for  the  prevention  of 
confusion,  to  give  them  names  beginning  with  different  vowels  as,  am,  en,  ing. 
I  wonder  whether  Quintilian  would  have  admired  the  "ringing  "  Chinese  terminal 
ng,  in  place  of  m,  or  the  French  and  Portuguese  nasality.     Hardly.     Greek  was 
fashionable  in  Rome. 


48  FINAL  M.  [Art.  72,  73. 

who  has  also  collected  many  cases,  really  more  valuable 
than  formal  inscriptions  for  determining  colloquial  usage, 
where  m  is  omitted  in  the  scribblings  of  the  walls  of 
Pompeii  (of  course  not  later  than  A.D.  79)  although  these 
form  a  decided  minority  in  comparison  with  the  number 
of  cases  in  which  m  was  retained  (I.  272),  which  is  not 
surprising,  as  the  omission  of  ;;/  was  then  cacographical, 
although  it  may  have  been  orthoepical,  in  the  sense  of 
representing  real  usage.  But  after  the  third  century  A.D., 
with  which  we  are  not  specially  concerned,  the  m  final 
was  very  commonly  omitted  in  all  words,  and  the  stone- 
cutters seem  to  have  applied  the  m  at  random  even  to 
ablative  cases,  (I.  273-6).  Corssen,  however,  confines 
himself  to  giving  the  instances  without  reference  to  the 
initial  letter  of  the  following  word,  which  is  most  im- 
portant for  our  inquiry. 

ART.  73. — As  I  have  not  the  complete  collections  of 
inscriptions  at  hand,  I  will  content  myself  with  reviewing 
the  whole  of  the  words  written  with  final  m  in  the  twenty- 
seven  inscriptions  given  in  Vol.  I.  App.  B.  of  Roby's 
Grammar,  adding  the  following  words,  numbering  the 
inscriptions,  giving  the  approximate  date,  and  ordinary 
orthography.  When  the  inscription  is  in  verse  the 
position  is  indicated  in  the  ordinary  orthography  by 
a  hyphen  as  in  the  examples  of  the  Appendix  below. 
Evident  abbreviations  and  defective  words  are  not 
quoted.  They  are  mostly  pre-Augustan. 

I.  B.C.  270-250.  dono  dedrot  =  in  ordinary  ortho- 
graphy dono  (donum?)  dederunt. 

IV.  (Date  not  given),  uicesma  parti  apolones  =  /// 
ordinary  orthography  vicesimam  partem  Apollinis. 

VI.  B.C.  250.   oino  ploirume  —  duonoro  optumo  fuise 


Art.  73.]  FINAL  M.  49 

uiro — luciom  scipione  filios — Corsica  aleriaque  urbe — 
aide  mereto  =  in  ordinary  orthography  unum-  plurimi — 
bon6rum  optimum-  fuisse  virum-  (if  the  next  word'  was 
virorum  as  conjectured) — Lucium-  Scipionem  filius — Cor- 
sica"1 Aleriam-que  urbem-  (if  the  next  word  was  pug- 
nando  as  conjectured) — aedem-  merito. 

VII.  About  B.C.  250.    donu  dede  =  /;/  ordinary  ortho- 
graphy donum  dedit. 

VIII.  About    B.C.    250.      taurasia    cisauna    samnio 
cepit — omne  loucanam  opsidesque  —  in  ordinary  ortho- 
graphy  Taurasiam-   Cisaunam-   Samnium-  (Samnio,   ac- 
cording to  Mommsen)  cepit. 

IX.  B.C.  189.     hastensium  Feruei — agrum  oppidumqu 
— item   possidere — dum  poplus    =   in  ordinary  ortho- 
graphy   Hastensium    servi — agrum    oppidumque — item 
possidere — dum  populus. 

X.  B.C.  1 86.     The  Bacchanal  inscription,  which  never 
omits  the  m,  nor  the  5-  nor  even  the  d  of  the  ablative  in 
arf,  od,  of  which  this  is  the  last  appearance. 

XI.  About  B.C.  164—154.  apiceinsigne  dial — in  genium 
quibus — gloriam   maior  um  qua  re — ingremiu    Scipio — 
prognat  um  publio  —  in  ordinary  orthography  apicem  in- 
insignem   dialis — ingenium    quibus  —  gloriam-   majorum 
— quare — in  gremium-  Scipio — prognatum-  Publio. 

XII.  Not   later  than  B.C.    134.     donu  danunt  =  in 
ordinary  orthography  donum  dant. 

XIII.  About  B.C.  135.     magna  sapientia  multasque — 
quom  parva — saxsum  quoiei — honore  is — nunquam  uictus 
— honore  queiminus  =  in  ordinary  orthography  magnam- 
sapientiam-  multasque — quum  parva — saxum  cui — hono- 
rem  is — nunquam-  victus — honorem-  qulminus. 

XIV.  About   B.C.    135.      progeniemigenui — maiorurn 

E 


50  FINAL  M.  [Art.  73—75.  , 

optenuilaudem  ut — creatum  la?tentnr  stirpem  nobili- 
tauit  =  in  ordinary  orthography  progeniem-  genul  [a 
doubtful  amendment  of  a  clearly  defective  original] — 
majorum  obtinui  laudem  ut — creatum  laetentur;  stirpem- 
nobilitavit. 

XV.  Between    B.C.    146    and    134.     romam  reclieit — 
aedem   et   signu    herculis    =    in   ordinary   orthography 
Romam  redilt — aedem  et  signum  Herculis. 

XVI.  Date  soon  after  XV.,  down  to  XXVII.,  "at  the 
end  of  the  republic,"  never  omit  m  final,  or  nominative  s, 
or  insert  ablative  d. 

ART.  74. — It  must  be  observed  that  these  inscriptions 
very  rarely  double  any  consonants  in  writing.  Even  the 
careful  Bacchanal  inscription  (X.)  is  full  of  words  like : 
due/onai  baranalibus  e^ent  habuiVe  ue/et  ade^e  adie.re 
iouori^ent,  with  single  consonants  =  in  ordinary  spel- 
ling Eellonae  Bacchanalibus  essent  habuisse  vellet 
adesse  adiise  jiississenr,  with  double  consonants. 

ART.  75. — Now  the  rule  with  regard  to  variations  from 
ordinary  orthography  occurring  in  the  writing  of  early  or 
unpractised  writers  in  any  language,  is,  that  the  deviations 
are  always  on  the  side  of  pronunciation.  Cacography  is 
always  a  surer  guide  to  sound  than  orthography,  because 
it  is  due  to  Quintilian's  "aures"  and  not  his  "ratio." 
Orthography  depends  upon  rules  which  had  to  be  laid 
down  because  other  considerations  outweighed  phonetic 
reasons,  and  which  are  consequently  ill  followed  by  those 
who  do  not  appreciate  those  reasons.  The  historical 
character  of  orthography,  also,  always  makes  it  more 
archaic  than  actual  usage.  There  is  no  need  to  go  be- 
yond English  and  French  for  proofs  of  this.  A  long 
study  of  the  English  usages  and  examination  of  older 


Art.  75—77.]  FINAL  M.  51 

works  on  orthography  and  orthoepy,  leaves  no  doubt  in 
my  own  mind  on  this  point.1 

ART.  76. — An  examination  of  these  inscriptions  would 
therefore  lead  me  to  the  following  conclusions. 

First,  that  final  m  had  no  appreciable  sound  at  a'l 
when  final,  or  before  a  following  word  beginning  with 
a  vowel. 

Secondly,  that  final  m,  before  a  following  word  begin- 
ning with  a  consonant,  had  no  sound  of  m,  but  became 
appreciable  in  speech,  either  by  lengthening  the  pre- 
ceding vowel,  or  by  doubling  the  succeeding  consonant. 

Thirdly,  that  the  phonetical  omission  of  the  ablative 
d,  (the  vowel  preceding  it  being  always  long),  was 
connected  with  the  orthographical  restitution  of  the 
accusative  and  neuter  ;;/,  to  prevent  the  eye  from  con- 
fusing ablatives  and  nominatives  with  accusatives,  and  did 
not  necessarily  imply  any  restitution  of  the  sound  of  m. 

In  the  second  conclusion  there  is  an  alternative  hypo- 
thesis of  lengthening  the  preceding  vowel  or  doubling 
the  succeeding  consonant,  because  the  inscriptional  or- 
thography would  have  been  the  same  in  either  case. 
The  supposition  that  orthographers  could  have  actually 
omitted  the  final  m  and  doubled  the  following  consonant 
in  writing,  at  a  time  when  doubling  consonants  under  any 
circumstances  was  so  rare,  is  not  tenable. 

ART.  77. — Two  questions  necessarily  arise  with  regard 
to  these  conclusions.  First,  is  there  any  analogue  in  any 
known  language?  Secondly,  is  there  any  basis  for  such 
an  hypothesis  in  Cicero  and  Quintilian?  We  need  not 
inquire  further,  for  it  is  self-evident  that  these  conclusions 

1  See  numerous  instances  in  my  Early  English  Pronunciation  'with  especial 
reference  to  Shaksjere  and  Chaucer,  1869 — 71. 

E    2 


52  FINAL  M.  [Art.  77—80. 

would  explain  both  the  facts  (a,  b}  of  Augustan  versi- 
fication with  which  we  started  (Art  64). 

ART.  78 — Now  the  two  languages  which  most  closely 
resemble  Latin  are  Spanish  and  Italian.  Spanish  has 
lost  the  habit  of  doubling  consonants  altogether,  but  it 
almost  invariably  omits  this  final  m  in  the  words  taken 
from  the  Latin.  Italian,  however,  does  double  con- 
sonants. It  also  almost  invariably  omits  the  final  m  of 
the  Latin.1 

ART.  79. — Italian,  however,  also  frequently  omits  other 
Latin  finals,  as  /,  d.  In  this  case  there  are  two  treat- 
ments, one  orthographical  and  the  other  orthoepical, 
which  bear  a  striking  analogy  to  the  conclusions  just 
drawn  from  the  inscriptions,  and  which,  in  point  of  time, 
first  led  me  to  conceive  this  solution  of  the  difficulty. 

ART.  80. — First,  the  omitted  Latin  letter  is  never 
written  in  Italian  when  it  is  not  pronounced.  Thus  ad, 
et  are  in  Italian  a,  e  generally,  but  occasionally  ad,  ed 
when  required  for  metre.  The  bare  a,  e  are  slurred,  as 
e  invano  (S.  5),  ai  =  ad  i  (S.  7);  but  ad,  ed  make 
syllables  as : 

miro*  tut'te  co'se,  ^ed'vn.  Sori'a. 

TASSO,  Ger.i.  8,  i. 
re 'co  ad\a£  al'ta^origina'ria  foirte. 

*Ib.  i.  30,  5. 

1  The  qualification  "almost"  before  "  invariably"  is  necessary  because  there 
are  a  few  words,  chiefly  monosyllabic,  in  which  a  trace  of  nasality  remains,  Latin 
cttm,  sum,  spent,  are  Italian  con,  sono,  spene($) ;  Latin  quern,  tarn,  are  Spanish 
guietr,  tan;  Latin  rent  is  old  Spanish  ren,  French  rien;  and  on  Roman  inscrip- 
tions con,  qnen,  tan,  occur.  ButjVzw  has  lost  its  m  everywhere.  The  in  of  the 
accusative  has  quite  vanished,  except  in  mon,  ton,  son,  for  meum^  tuum,  suum. 
These  and  other  particulars  may  be  seen  in  Diez.  The  object  here  is  to  arrive 
at  general  conclusions,  not  particular  exceptions.  It  is  impossible  to  attempt  a 
list  of  exceptions  in  Augustan  speech,  where  even  the  general  rules  are  reached 
with  difficulty  (see  Art.  8). 


Art.  So,  81.]  FINAL  M.  53 

The  employment  of  ad,  ed,  is  rare  and  archaic,  and 
confined  almost  to  poetry.  It  is  comparable  perhaps  to 
the  occasional  use  of  m  final  to  preserve  the  preceding 
syllable  in  Lucretius,1  if  indeed  the  latter  are  not,  as  I 
believe,  really  cases  of  unslurred  open  vowels  which  occur 
much  more  frequently  (Q.  n).  See  also  p.  65. 

ART.  8 1. — Next,  in  certain  cases,  words,  in  which  the 
omitted  Latin  letter  is  not  written  in  Italian,  are  con- 
nected orthographically  with  a  following  word,  beginning 
with  a  consonant,  and  that  consonant  is  then  doubled  to  the 
eye  as  well  as  the  ear,  thus  replacing  the  omission  by 
assimilation.  Thus  gia  che  =  Latin  jam  quod,  become 
giacche;  gid  mai  =  Latin  jam  magis,  become  giammai ; 
con  lo  =  Latin  cum  illo,  become  col  (S.  3,  and  compare 
the  preserved  con  la  in  the  same  line  for  the  usual  colla); 
gia  sia  cib  che  —  Latin  jam  sit  ecce-hoc  quod  become 
giassiadocche  ;  do  che  =  Latin  ecce-hoc  quod  become 
generally  cioccJie;  a  dio  =  Latin  ad  deum,  become  addio ; 
a  fatto  =  Latin  ad  factum,  become  affatto ;  a  fine  che  = 
Latin  adfinem  quod  become  affincke;  a  lato  —  Latin  ad 
latus  become  allato ;  a  le  arme  =  Latin  ad  ilia  arma 
become  allarme,  whence  our  alarum,  alarm,  and  a  le  is 
generally  alle\  a  mano  —  Latin  ad  manum  become 
ammano ;  e  bene,  e  poi,  e  pure  —  Latin  et  bene,  et  posted,  et 
pure  become  ebbene,  eppoi,  eppure;  da  vero  =  Latin  de  ad 
verum  become  davvero ;  o  vero,  o  pure  —  Latin  aut  verum, 
aut  pure,  become  ovvero  oppure;  si  bene,  si  fatto  =  Latin 
sic  bene,  slcfactum  become  sibbme,  siffato ;  il  dio  =.  Latin 
ille  deus  become  Iddio  the  one  God.  Again  the  perfect 
tenses  ending  on  ~b,  -I,  when  a  lo,  vi,  &c.  is  added  on, 

i  Nam  quod  |  fluvidum  |  est  e  |  levibus  J  atque  ro  j  tundTs. — u.  464. 
Sed  dum  a  |  best  quod  a  |  vemus  id  |  exsupe  |  rare  vi  |  detur. — in.  1094. 


54  FINAL  M.  [Art.  81,  82. 

become  -olio,  -ovvi,  &c.,  as :  ei  dimostrollo  [for  dtmostrb 
lo\  a  lungo  (Tass.  Ger.  i.  29,  *]),~amovvi  for  amo  vot, 
and  so  on. 

ART.  82. — Thirdly,  when,  as  is  most  frequently  the 
case,  words  from  which  a  final  Latin  consonant  has 
been  dropped  in  passing  into  Italian,  are  not  written  in 
connection  with  the  following  consonant,  they  are  still 
spokeji  in  connection  with  it.  For  this  observation  I  am 
indebted  to  Prince  Louis  Lucien  Bonaparte.  He  con- 
siders the  following  consonant  in  this  case  to  be  "  ener- 
getic" (Art.  20)  and  to  preserve  this  character  at  the 
beginning  of  a  phrase.1  In  the  first  stanza  of  (S)  all  the 
words  preceded  by  a  hyphen  are  thus  energetic,  according 
to  a  copy  which  the  Prince  was  good  enough  to  make 
for  me  himself,  and  so  distinct  is  the  phonetic  effect,  that 
when  I  was  reading  out  the  stanza  to  him,  he  corrected 
me  in  every  case  where,  from  want  of  habit,  I  neglected 

1  The  following  is  a  translation  of  the  rules  prefixed  to  Prince  L.  L.  Bonaparte's 
Sassarese  Sardinian  translation  of  St.  Matthew  (1866),  with  the  exception  of 
two  omitted  at  his  own  request.  The  Italian  text  may  be  seen  in  my  Early 
English  Pronunciation,  p.  799  note.  "Simple  consonants  are  often  pronounced 
like  double  consonants  in  Italian,  according  to  the  following  general  rules: 
i.  When  they  are  initial  and  commence  a  phrase,  either  at  the  beginning  of  a 
sentence  or  short  clause,  or  after  a  vowel :  4.  When  the  preceding  word,  although 
ending  in  a  vowel,  has  the  force-accent  on  the  last  syllable,  or  is  a  monosyllable, 
in  both  cases  derived  from  a  Latin  word  ending  in  a  consonant  which  has  been 
suppressed  in  passing  from  Latin  to  Italian.  Thus  the  preposition  a  from  Latin 
ad,  the  conjunction  e  from  et,  and  si  from  szc,  ne  from  nee,  and  truncated  words 
as  amo  from  amdvii,  pote  from  potuit,  have  all  the  property  of  making  the  initial 
consonant  of  the  following  word  energetic.  Hence  though  we  see  the  written 
words  :  a  Pietro,  e  voi,  si  grande,  ne  questo  ne  quello,  amo  molto,  pote  poco  ; 
we  really  hear  nothing  but:  appie'tro,  evvo'i,  siggran'de,  necques'to  nec- 
quel'lo,  amom'mol'to,  potep'po'co.  In  other  cases  the  consonant  remains  weak 
[single].  Thus  in  :  di  Maria,  i  doni,  la  mente,  le  donne,  mi  dice,  ti  lascia,  si 
gode,  ama  molto,  pote'  poco,  molto  largo,  the  initial  consonants  are  spoken 
as  written,  either  because  the  preceding  words  are  the  Latin  tie,  Hit,  ilia, 
illae,  me,  te,  se,  /W«z,  which  end  in  vowels,  or  because  in  the  case  of  a' ma 
mol'to,  mol'to  lar'go,  the  words  a'ma  and  mol'to  are  not  accented  on  the  last 
syllable." 


Art.  82—84.]  FINAL  M.  55 

to  make  the  consonant  "  energetic."1  Taking  only  the 
cases  where  this  "  energy "  supplies  the  place  of  an 
omitted  consonant,  we  find  practically  :  aHiri  (S.  5) ; 
ec-con  (S.  3),  ed'di  (S.  6),  es'softo  (S.  7);  liberod'di 
(S.  2),  oproc'col  (S.  3),  armod'da'sia  (S.  6),  dieffavo're 
(S.  7),  soffrin-nel  (S.  4).  Observe  that  two  syllables  have 
the  force  accent  in  certain  cases,  distinguishing  two 
united  words  from  a  single  word,  as  the  Latin  pitch 
accent  was  supposed  to  act  in  Art.  60. 

ART.  83. — Taking  account  of  Cicero's  emphatic  de- 
claration of  the  necessity  of  connecting  words  in  Latin 
speech  (Q.  9),  and  remembering  that  Italian  is  the  de- 
scendant of  at  least  some  form  or  forms  of  Latin  speech, 
(not  necessarily  or  probably  of  the  literary  Augustan  form, 
and  hence  in  some  cases  shewing  usages  not  traceable 
to  that  form,2)  is  it  too  much  to  suppose  that  an  Italian 
usage,  exactly  conformable  to  what  we  may  assume  as 
the  colloquial  forms  indicated  by  old  inscriptions,  was 
also  the  old  Augustan  usage  for  final  m  ?  To  me  it 
seems  that  very  strong  and  direct  contemporary  evidence 
would  be  necessary  to  lead  to  any  other  conclusion,  and 
hence  I  proceed  to  examine  the  second  question  of  Art.  77. 

ART.  84. — What  is  the  contemporary  evidence?  It  is 
neither  much,  nor  clear.  Cicero's  consists  simply  in 
stating  that  cum  nobls,  was  not  said,  but  either  cum  autem 
nobis,  or  nobiscum,  to  avoid  the  sound  of  cun  nobls.^  To 

1  This  happened  a  year  before  this  paper  was  written.     This  is  mentioned  to 
shew  how  the  hypothesis  here  developed  originated. 

2  To  these  might  be  attributed  the  rare  preservation  of  nasality  as  sono  for  both 
sum  and  stint,  so  that  an  original  confusion  of  these  words  is  possible. 

3  The  reason  he  gives  and  its  application,  like  most  old  pieces  of  linguistry, 
are  almost  impossible  to  credit:  quid  illud?  non  olet  unde  sit,  quod  dlcitur,  cum 
illis  ?  cum  autem  nobtsnon  dlcitur,  sed  noblscum  ?  quia  si  ita  dlcere  ur,  obscaenius 
concurrerent  litterae,  ut  etiam  modo,  nisi  autem  interposuissem,  concurrissent. 


56  FINAL  M.  [Art.  84,  85. 

this  must  be  added  Quintilian's  cun  notls,  where,  however, 
he  endeavours  to  give  a  phonetic  explanation  of  the 
assimilation.  And  this  explanation  requires  attention, 
because,  although  valueless  in  itself,  it  seems  to  imply 
that  final  m  in  his  time  was  considered  so  difficult  to 
pronounce  before  a  consonant,  that  it  had  to  be  either 
assimilated  to  it,  (as  in  the  Italian  examples),  or  entirely 
omitted.  If  we  may  credit  him,  Roman  organs  could 
not  pronounce1  their  final  m  purely,  without  making 
a  pause  after  it,  and  before  the  following  consonant. 

ART.  85. — Quintilian's  words  in  reference  to  cum  notts, 
are  :  quia  ultima  prioris  syllabae  littera,  quae  exprimi  nisi 
labrls  coeuntibus  non  potest,  [that  is,  if  m  is  expressed 
at  all,  the  lips  are  closed,  but  so  must  they  be  for  the 
common  £,  /,]  aut  intersistere  nds  indecentissime  ["most 
unbecomingly,"  this  does  not  refer  at  all  to  the  meaning 
of  the  words,  but  to  the  unbecomingness  of  the  hesi- 
tation] cogit,  aut  continuata  cum  insequente  in  naturam 

ex  eo  est  mecum  et  tecum  :  non  cum  me  et  cum  te,  ut  esset  simile  illls  I'dbiscum 
atq  ae  noblscum,  Cic.  Or.  §  154.  Such  as  it  is,  however,  Quintilian  echoes  it  for 
cun  notls  hominibus,  which  he  therefore  puts  in  the  order  cum  hominibus  notls, 
and  he  gives  several  other  instances,  much  more  difficult  to  enter  into,  where 
accidental  combinations  of  words  may  be  twisted  into  dirty  senses,  until  Quin- 
tilian is  forced  to  exclaim :  quod  si  recipias,  nihil  loqul  tutum  est  (8,  3, 
44—47)- 

*  Any  unusual  combination  of  even  usual  sounds  creates  a  difficulty  to  the 
speaker.  An  Irishman,  when  I  remarked  to  him  on  the  inconsistency  of  the 
Irish  pronunciations  of  machine  fatigue  as  rhyming  to  English  seen  plague  re- 
spectively, made  the  extremely  just  observation,  that  if  you  were  to  ask  an  Irish 
peasant,  he  would  tell  you  it  was  much  "az'sier"  to  speak  so  than  to  make  them 
rhyme  to  either  English  seen  league  or  rain  plagrie.  The  case  is  that  of  habit 
only.  Prof.  Blair  (ibid,  p.  97),  quotes  from  "Servius  in  II.  Donati  editionem, 
ap.  P.  p.  1797 :  nemo  enim  dicit  cum  me,  cum  te,  propter  cacophaton,"  which 
in  view  of  dum  me,  ditm  te,  is  simply  absurd.  But  Servius  had  always  heard 
mecum  tecum,  and  hence  anything  else  sounded  wrong,  as  in  English  I  goed 
(really  the  good  old  yode)  for  /  went.  Italians,  who  usually  say  me'co  te'co 
sometimes  indulge  in  con  me'co,  con  te'co.  It's  well  that  Servius  can't  hear 
them  ! 


Art.  85,  86.]  FINAL  M.  57 

ejus  corrumpitur  ["  broken  down,  assimilated,"  probably 
not  implying  a  censure  on  what  was  an  exceedingly 
common  Latin  custom].  Quint.  8,  3,  45.  Now  with 
regard  to  shutting  the  mouth,  it  must  be  remembered 
that  the  lips  and  tongue  are  in  exactly  the  same  position 
for  /,  £,  m ;  and  that  they  are  also  in  the  same  position 
(though  different  from  the  last)  for  /,  d,  n.  Now  does 
Quintilian  mean  to  say  that-  he  could  not  distinguish 
abnuit  from  annuit  (which  had  absolutely  contrary  mean- 
ings), without  an  "unbecoming  pause"  after ab  in  abnuit , 
to  prevent  the  b  from  being  "  broken  down  "  into  n  and 
thus  making  annuity  He  would  probably  have  been 
very  much  surprised  at  the  question.  But  his  phonetic 
reasoning  applies  strictly  to  this  case,  which  he  never  con- 
templated, because  he  was  thinking  only  of  his  habits 
respecting  final  m,  and  these,  as  I  gather  from  his  words, 
were  so  ingrained,  that  he  could  not  pronounce  without 
considerable  effort  and  an  "  unbecoming  "  hesitation,  that 
"  lowing  "  sound  m,  whose  presence  at  the  end  of  words 
he  found  so  offensive  in  Latin  when  he  wanted  to  de- 
preciate his  own  language  in  respect  to  Greek  (12,  10, 
31) ;  see  Art.  70,  note  i.  Such  inconsistencies  are  very 
common  with  persons  who  write  on  subjects  they  have 
not  studied  scientifically,  and  very  few  indeed  have  con- 
sidered it  at  all  necessary  to  attend  to  the  real  nature  and 
science  of  speech  sounds.  Quintilian  always  speaks  as  if 
the  matter  were  so  elementary  that  it  was  beneath  his 
notice,  and  consequently  writes  hurriedly,  inconsistently 
and  insufficiently,  which  is  a  great  loss  to  modern 
investigators  of  ancient  habits  of  speech. 

ART.  86. — These  are  really  all  the  indications  which 
I  can  find  of  the  use  of  m  final  before  consonants  in  the 


5§  FINAL  M.  [Art.  86,  87. 

Augustan  and  post-Augustan  centuries.  So  far  as  they 
go  they  confirm  the  conclusions  from  the  inscriptions  and 
from  Italian  usage.  It  is  of  no  use  referring  to  Priscian 
and  Donatus,  except  to  note  that  Priscian  says  that  m 
final  had  an  "obscure"  sound,1  because  we  know  for 
certain  that  for  at  least  a  century  before  his  time,  final 
m  could  not  have  been  pronounced  at  all,  and  hence 
this  use  of  "obscure"  enables  us  to  estimate  the  mean- 
ing of  Quintilian's  "obscuration"  of  m,  before  a  vowel, 
which  we  shall  have  to  examine  presently. 

ART.  87. — Before  proceeding  to  this  observation  of 
Quintilian,  I  will  refer  for  a  moment  to  Verrius  Flaccus, 
his  contemporary,  whose  work  on  orthography  might 
have  been  of  much  service  in  this  respect.  The  following 
statement  is  made  on  the  authority  of  Velius  Longus, 
&  contemporary  of  Macrobius,  who  belongs  to  the  late 

1  Prof.  Blair  (op.  cit.  p.  93),  and  Corssen  (I.  263),  quote  Priscian  (the  first  as 
I-  555>  tne  second  as  T.  38,  H,  I  have  not  verified  either),  thus:  "  M  obscurum 
in  extremitate  diet  onum  sonat,  ut  'templum; '  apertum  [as  if  there  could  be  an 
open  mouthed  M  !]  in  principle,  ut  'magnus  ;'  mediocre  in  medils,  ut  'umbra.'" 
Now  all  phonologists  know  that  initial  consonants  have  generally  less  sound  than 
that  which  it  is  possible  to  give  to  final  consonants,  and  that  consonants  which 
are  followed  immediately  by  other  consonants  in  the  same  syllable  or  adjacent 
syllable,  may  be  variously  altered.  In  w  ^at  sense  Priscian  meant  his  apertum 
and  mediocre,  it  would  have  been  probably  very  difficult  to  determine,  even  in  a 
viva  voce  examination  (judging  from  much  experience),  but  what  he  meant  by 
"obscure"  is  very  clear;  it  was  simply  that  m  was  written  and  not  sounded. 
''Obscure"  implied  no  more  than  this.  Donatus  ad  Ter.  Adel.  II.  i,  53  (as 
quoted  by  Prof.  Blair,  ibid.  p.  93),  says:  mussitdre — dictum  a  miitd,  vel  ab  nil 
quae  littera  est  nimium  pressae  vocis  ac  pene  nulllus  [really,  when  final,  ab- 
solutely mute,  in  his  time, — he  lived  in  the  fourth  century  and  was  the  master  of 
St.  Jerome,  the  writer  of  the  Vulgate, — ]  adeo  ut  sola  omnium  quum  inter  vo- 
cales  inciderit,  atteratur  atque  subsldat  [is  ground  up  and  settles  down,  like  grit 
in  water?]  We  know  that  m  is  so  far  from  being  naturally  "  nimium  pressae 
vocis  ac  pene  nulllus,"  that  it  can  actually  be  sung  upon,  not  only  in  ordinary 
humming,  but  as  a  singing  part  in  Mozart's  Flmito  Magico.  Had  Donatus 
any  notion  of  "energising"  the  following  consonant?  His  expressions  at  least 
do  not  contradict  such  a  theory.  That  the  practice  may  be  common  without 
being  observed,  I  at  lea»t  know  from  having  lived  a  year  in  Italy  without  ob- 
erving  it. 


Art.  87,  88.]  FINAL  M.  59 

grammarians.  He  says  in  his  orthography  (Blair,  p.  94, 
Corssen  I.  26;  P.  p.  22,  38):  nonnulli  synaloephas 
[junctures  of  Quintilian]  quoque  observances  circa  talem 
scriptionem  existimaverunt,  sicut  Verrius  Flaccus,  ut 
ubicunque  prlma  vox  m  littera  finiretur,  sequens  a  vocali 
inciperet,  M  non  tota,  sed  pars  illms  prior  IV  tantum 
scriberetur,  ut  appareat  expriml  non  debere.  That  is, 
Verrius  Flaccus  wished  to  shew  by  partial  defacement 
that  an  M  though  written,  was  not  pronounced,  just  as 
"mute  letters "  are  underdotted,  italicized,  or  printed  in 
skeleton  type,  in  various  systems  of  teaching  to  read 
English.  Here  only  the  case  of  final  m  preceding 
a  word  commencing  with  a  vowel  is  mentioned,  for  if 
a  consonant  followed,  Verrius  Flaccus  would  probably 
have  considered  that  the  m  was  pronounced,  though  assi- 
milated, as  the  effect  would  have  been  different  had  no  m 
been  there  at  all.1  It  must  be  remembered,  however,  that 
we  have  not  the  precise  words  of  Verrius  Flaccus  but 
only  a  report  of  them  furnished  by  a  writer  in  whose 
time  this  m  was  certainly  not  pronounced  at  all,  and 
that  probably  much  more  existed  in  the  original. 

ART.  88. — The  classical  passage  in  reference  to  final 
m  before  a  vowel  is  in  Quintilian.  He  has  been  speaking 
of  juncturae,  and  of  the  disagreeable  effect  of  the  con- 
currence of  certain  letters  (Q.  2,  3)  which  "  in  commissura 

1  I  have  myself  been  told  that  gh  in  English  sight  and  e  in  English  site  were 
"pronounced,"  because  if  they  were  left  out,  the  words  would  be  szV,  and  have 
an  entirely  different  sound !  We  are,  I  believe,  indebted  to  Mr.  B.  H.  Smart 
for  a  distinction,  important  in  reference  to  Latin  final  m,  that  the  italicised  letters 
in  the  English  words,  meal,  charcoal ;  flu's,  fo^s,  du^s  ;  pazn,  ez'ther,  suz't ;  broach, 
door;  soul,  bowl;  play,  kejj/;  Messiah;  mate,  bath<?,  paste,  age,  s.ce ;  gwess, 
guide,  plagz/e,  &c.  "are  mute,  though  in  general  significant."  (Pronouncing 
Dictionary,  1836,  Art.  171).  This  amounts  to  distinguishing  marks  of  separate 
sounds,  from  marks  used  diacritically  to  modify  the  other  marks,  that  is,  "lit- 
terae  "  from  "notae,"  according  to  Quintilian,  as  we  shall  presently  see. 


60  FINAL  M  [Art.  88. 

verborum  rixantur."  He  notices  ars  studiorum,  and  the 
Lucilian  omission  of  s  final  in  Aes^rninu(s)  fuit,  dignu(s) 
locoque,  which  was  evidently  so  strange  to  him  that  he 
could  never  have  noticed  it  in  speech,  and  he  goes  on  to 
say  :  inde  belligerare,  pomeridiem,  et  ilia  censoril  Catonis 
dice  hanc,  aeque  M  littera  in  E  mollita,  [the  letter  M 
"softened"'  to  E,  "in  the  same  way"  aeque;  the  phrase 
must  have  meant  diem  hanc,  and  the  double  ee  probably 
stood  for  a  long  e,  and  shewed  that  there  was  no  elision ; x] 
quae  in  veteribus  libris  reperta  mutare  imperiti  solent, 
et  dum  librariorum  Insectarl  volunt  Inscientiam,  suam 
confitentur.2  atqui  eadem  ilia  littera,  quotiens  ultima 
est  et  vocalem  verb!  sequentis  ita  contingit,  ut  in  earn 
translre  possit,  [so  that  it  can  "  pass  over  into  it,"  that  is, 
be  "  softened  "  into  it,  as  in  diee  for  diem  just  cited,  and  not, 
"  be  pronounced  with  the  second  vowel  instead  of  with 
the  first,"  see  Art.  68,  note;  see  also  the  expression 
dissimulator  in  the  passage  referring  to  the  same  practice, 
quoted  in  Art.  137],  etiamsl  scribitur,  tamen  parum 
exprimitur,  [is  "  little  "  expressed,  euphemistic  for  minime 
=  "not  at  all,"  the  word  really  means,  "not  enough," 
"not  so  much  as  it  ought  to  be  considering  that  it  is 
written,"]  ut  multum  ille  et  quantum  erat:  adeo  ut  paene 

1  Quintilian  says  in  the  passage  referred  to  by  him  in  the  quotation  on  p.  42, 
note  :  in  ipsis  vocalibus  grammaticl  est  videre — quae  ut  vocaJes  junguntur  aut 
unam  longam  faciunt,  ut  veteres  scripserunt,  qui  geminatione  earum  velut  apice 
[as  a  mark  of  length]  utebantur,  aut  duas  (i,  4,  10).     Hence  dice  would  =  die. 
This  would  allow  us,  in  the  absence  of  proper  types,  to  use  double  vowels  for  the 
capitals  of  initial  long  vowels,  as  OOrator  =  orator,  a  practice  which  would  be 
quite  unambiguous.     When  a  word  is  entirely  in  capitals,  a  small  letter  inter- 
posed would  mark  length,  as  OoRAaTOR,  LAaOCOOoN.     In  the  examples  of 
the  appendix,  capitals  have  been  entirely  avoided,  but  in  general  quotations,  and 
in  modern  editions  of  classical  works,  the  above  antique  practice,  slightly  varied 
to  prevent  ambiguity,  might  be  adopted. 

2  Editors  of  old  texts,  please  to  copy  ! 


Art.  88.]  FINAL  M.  61 

["almost"  the  usual  orthographical  saving  clause],  cu- 
jusdam  novae  litterae  sonum,  [really  " sound"?  see  what 
follows]  reddat,  neque  enim  eximitur  [probably  merely, 
it  is  not  omitted  in  writing,  with  a  feeling  that  it  could 
not  be  left  out  in  general  spelling  because  of  its  action 
before  a  consonant],  sed  obscuratur  ["  made  inaudible/' 
compare  Priscian,  as  quoted  in  Art.  86,]  et  tantum 
aliqua  inter  duas  vocales  velut  nota  [a  mark,  not 
a  sound  by  itself,  see  on  ^,  Art.  53,  note]  est,  ne  ipsae 
coeant.  Then  he  goes  off  at  a  tangent  on  the  necessity 
of  being  able  to  divide  words  rightly :  videndum  etiam 
ne  syllabae  verb!  prioris  ultimae  sint  primae  sequentis, 
[instancing  most  singularly  cases  in  which  no  difficulty 
could  have  occurred],  id  ne  quis  praecipl  miretur,  Ci- 
ceroni in  epistolis  excidit :  "  res  mihi  invisae  visae  sunt, 
Brute  : "  et  in  carmine :  6  fortunatam  natam  me  consule 
Romam.  (9,  4,  39 — 41).  Now  the  points  here  are  that 
the  m  almost  acts  as  another  letter,  (like  that  of  Ver- 
rius  Flaccus?)  to  which  Quintilian  indeed  attributes  a 
sound  (sonum),  although  he  owns  almost  in  the  same 
breath  that  it  only  acted  as  a  mark  of  separation,  like  the 
stonecutters  (.)  !  Now,  years  ago  when  I  read  this  passage, 
I  was  misled  to  think  that  the  "parum  exprimi"  im- 
plied that  m  was  expressed  in  speech  "somehow,"  if 
not  "  enough,"  and  to  think  that  the  "  neque  eximi- 
tur" referred  to  its  not  being  altogether  left  out  in 
speech  instead  of  to  its  not  being  omitted  in  writing, 
and  that  the  "  obscuratur/'  and  the  u  paene  cujusdam 
novae  litterae  sonum"  referred  to  that  nasalising  of 
the  previous  vowel  which  is  to  this  day  expressed  by  a  fol- 
lowing m  or  n  in  French,  and  m  in  Portuguese,  so  that  m 
is  thus  applied  to  a  particular  means  of  modifying  vowel 


62  FINAL  M.  [Art.  88. 

sounds.1  But  in  the  first  place  nasalisation  is  strange 
to  Italy,  even  to  its  dialects  (with  rare  exceptions). 
Next  in  French  there  is  every  reason  to  suppose  that 
nasalisation  of  vowels  did  not  exist  till  at  least  a  century 
after  the  Norman  Conquest,  and  was  not  complete  till 
the  seventeenth  century.2  Again  this  nasality,  when  it 
existed,  did  not  affect  the  Latin  final  m,  except  in  such 
rare  cases  as  to  have  no  weight,  for  the  whole  of  the 
case-endings  in  -am,  -em,  -//;;/,  had  disappeared  before 
the  nasalisation  of  French  had  commenced.  I  do 
not  know  the  history  of  Portuguese  nasalisation,  but  I 
find  independent  nasalisation  arising  in  Southern  German 
(where  certainly  it  sometimes  implies  an  omitted  n)  and 
in  American  English,  while  it  probably  exists  widely  in 
extra-European  languages.  Also  I  find  the  German  -en 

1  This  suggestion  of  mine  (Phil.  Soc.  Trans.  1867,  supp.  p.  20)  having  been 
referred  to  by  Mr.  Roby  (Gram.  Pref.  p.  Ixxxiii.  1.  10)  in  relation  to  this  passage 
of  Quintilian,  I  wish  particularly  to  state  that  I  have  entirely  withdnwn  it. 
Prof.  S.  S.  Haldeman,  from  whom  I  differ  on   phonetic  points  with  great  re- 
luctance, adopts  the  nasality  unreservedly  (ofi.  ci.  in  Art.  i,  p.  27),  referring  to 
the  nasal  anusvara  in  the  Sanscrit  originals  of  Latin  final  in,  to  the  passages  from 
Priscian,   and  Verrius  Flaccus,  just  quoted,  and  to  an  inscription  copied   by 
Manutius  "in  which  a  small  curved  line  (~)  is  used  (at  least  by  him)  to  repre- 
sent M,  N,  and  N  (ng\"    This  last  mark  was  probably  merely  a  cursive  m  or  n 
as  in  modern  Portuguese  and  Spanish,  frequently  degenerating  into  a  single 
straight  line,  of  which  the  mathematical  sign  —  =  in  for  minus,  is  a  well-known 
example,  and  which  is   of  constant  occurrence  in  all  medieval  (even  English) 
MSS.  where  no  nasality  need  be  suspected.      Prof.  Haldeman  says  explicitly 
(op.  ci.  Art.  105):  "the  Latin  nasal  vowels  are  i,  E,  A,  o,  u,  as  emm,  decem, 
tam,  flovio™,  tum,"  both  the  nasality  and   long  quantity  are  doubtful  to  me. 
What  the  anusvara  was  originally,  I  do  not  know  ;  it  has  become  in  Indian  pro- 
nunciation of  Sanscrit  a  simple  English  ng  in  singing,  and  its  mark  (a  mere  dot) 
seems  to  be  the  affixed  dot  by  which  alone  the  devanagari  character  for  this  ng 
was  distinguished  from  that  of  the  cerebral  d  (which  is  the  English  </).     This 
seems  to  point  to  an  early  use  of  this  sound,  which  certainly  replaced  final  m 
under  certain  circumstances  in  Sanscrit,  th^t  apparently  have  nothing  to  do  with 
Latin.    A  very  early  Latin  final  m  pure,  is  not  disputed. 

2  See  my  investigation  of  the  subject  for  the  sixteenth  century,  with  M.  Paul 
Meyer's  results  for   the   earlier  period,  in  my  Early  English  Pronunciation, 
pp.  825—828. 


Art.  88—90.]  FINAL  M.  63 

disappearing  into  -e  on  the  Rhine,  without  nasalisation. 
Also  certainly  the  same  change  occurred  in  English  itself 
without  even  a  tendency  to  nasalisation.  I  know  of  no 
passage  which  even  slightly  supports  the  nasalisation 
theory,  except  that  just  cited,  and  this  (which  really  says 
nothing  of  nasalisation  directly),  may  I  think  be  inter- 
preted as  above,  in  a  manner  more  consonant  with  the 
expressions  of  orthographers  and  orthoepists. 

ART.  89. — The  result  is  that  (excluding  compound 
words)  we  have  one  undoubted  case  of  assimilation  of 
final  m  to  following  n  in  Cicero  and  Quintilian ;  we  have 
also  Quintilian  stating  that  this  assimilation  could  not 
be  avoided  without  an  unbecoming  pause,  shewing 
evidently  that  his  organs  were  not  accustomed  to  avoid 
it ;  we  have  a  recorded  though  archaic  case  (diee)  of  final 
m  being  omitted  and  the  preceding  vowel  lengthened  (if 
indeed  "  diem  "  ought  not  to  have  a  long  vowel  always, 
as  being  of  the  e  declension,  so  that  it  is  after  all  a  simple 
case  of  omitted  m)  and  we  have  an  account  of  final  M 
generally  before  a  vowel  implying  that  it  was  really  not 
heard  at  all.  Hence  our.  examination  of  contemporary 
authority  rather  confirms  than  weakens  the  conclusion 
drawn  from  the  usages  of  pre-Augustan  and  post-Au- 
gustan inscriptions  and  of  modern  Italian. 

ART.  90. — A  little  uncertainty  may  still  prevail  as  to 
the  monosyllables  in  -;;/,  where  as  we  have  seen  (Art.  78) 
an  m  or  ;/,  or  nasality  is  sometimes  found  in  romance 
languages.  But  the  following  examples  from  Horace's 
Satires  (which  are  selected  especially  because  although 
"  pede  certo,"  so  that  the  effect  can  be  measured  without 
hesitation,  they  are  "  sermonl  propius"  and  thus  little 
likely  to  resort  to  "  poetic  licenses,"  and  to  have  been 


64  FINAL  M.  [Art.  90. 

effective  must  have  reproduced  the  speech  of  the  day, 
very  slightly  twisted  to  force  it  into  metre),  will  shew 
that  monosyllables  were  not  excepted  from  the  law  of 
silent  m  before  a  vowel,  but  were  treated  precisely  like 
other  monosyllables  which  had  no  /;/. 

DUM  .  .  dumwex  parvo. — HOR.  Sat.  I.  I,  52. 

dumwaes  exigitur. — I.  5,  13. 

natus  dumwingenuus. — I.  6,  8. 

nee  dumwomnis  abacta. — II.  2,  44. 
TUM   .  .  tibi  tumwefficient  res. — I.  2,  97. 

tum^immund6. — I.  5,  84. 

tumwinlecto. — n.  8,  77. 
NUM  .   .  pocula;  num  esuriens. — I.  2,  115. 

numwignota.—  I.  6,  36. 
CUM   .   .  cum^/ux6ribus. — I.  2,  57. 

nugari  cumwillowet  distinct!. — II.  I,  73. 
QUUM    .  quumwexiret. — I.  2,  30. 

quumwest  jussa  venire. — I.  2,  122. 

quumwadsectaretur. — I.  9,  6. 

quumwest  Lucilius  ausus. — II.  I,  63. 

quurawllionamwedormit. — II.  3,  61. 

quumwimmerit5s. — II.  3,  211. 
SUM    .  .  quidquid  sumwego  quamvis. — II.  I,  74- 

quid  sumwego?  nempe. — II.  7,  80. 
NAM   .  .  namwexemplov_/est — I.  I,  33. 

namwut  ferula. — I.  3,  120. 

namwut  multum,  nil  moror. — I.  4,  13. 

namwut  quisque^insanus. — I.  6,  27. 

namwinquiram. — 1 1.  3,  41. 
QUAM    .  quamwex  hoc  fonticulo. — I.  I,  56. 

quamwex  re  decerpere. — I.  2,  79. 

quamwaut  aquila^aut  serpens. — I.  3,  27. 
REM   .  .  remwimperitowac  si. — n.  3,  189. 

committes  remwomnemwet   vitamwet 
cum-  corpore  famara. — II.  7,  67. 

There  is  however  one  passage,  where,  if  the  reading  is 
correct,  num  forms  a  short  syllable  before  a  vowel : — 


Art.  90,  91.]  FINAL  M.  65 

num  vesceris  ilia 
quam  laudas  pluma?  cocto  num  adest  honor  idem? — II.  27-8. 

where  as  before,  and  as  even  in  drcumago  circumeo  I 
should  incline  to  read  as  an  hiatus,  cocto  nu — adest,  circu 
— ago,  circu — eo.  It  is  possible,  however,  that  the  correct 
reading  is  "  cocto  num  w  et  adest  honor  idem,"  the  et  is 
wanting  to  the  sense  at  least  as  much  as  to  the  metre.1 

ART.  91. — The  general  rules  for  the  treatment  of  final 
m  which  this  discussion  leads  to  are  as  follows.  Ex- 
ceptions must  be  admitted,  but  the  only  safe  course  is  to 
carry  out  the  principle  strictly,  for  there  is  absolutely  no 
means  of  determining  what  and  where  the  exceptions 
may  be. 

a.  Final  m,  followed  by  a  word  beginning  with  a  vowel 
in  the  same  clause,  on  to  which,  had  there  been  no  m, 
the  preceding  vowel   could  have  been   slurred  by  the 
regular  rule,  is  totally  inaudible  and  ineffective,  and  the 
vowels  are  slurred  just  as  if  no  m  had  been  written. 

b.  Final  m,  at  the  end  of  a  sentence,  is  totally  inaudible 
and  the  preceding  vowel,  like  all  final  vowels  (P.  2)  is 
indifferently  long  or  short,  but  had  better  be  made  long 
to  indicate  the  excision  of  m. 

c.  Final  m,  before  a  pause,  however  brought  about,  is 

1  Horace  is  talking  of  the  extravagance  of  eating  a  peacock,  and  says  that 
people  would  prefer  it  to  a  common  fowl,  if-  they  had  the  choice,  because  it  is 
dear,  and  rare,  and  with  a  splendid  plumage,  as  if  that  had  anything  to  do  with 
the  matter:  "do  you  eat  the  plumage  that  you  laud?  has  the  cooked  bird  still 
the  same  glories?"  For  adest,  we  should  in  prose  most  probably  have  had 
manet,  but  this  would  not  scan,  and  the  sense  is  preserved  by  using  et  adest. 
I  don't  know  of  any  authority  for  this  conjecture,  but  the  syllable  num  before 
a  vowel  is  I  think  so  impossible  a  reading  for  Horace,  that  I  cannot  quote  the 
passage  without  noting  that  it  is  manifestly  incorrect.  Even  the  line  amator 
Sxclfisus  qul  distat,  agit-  ubi  secum,  eat  an  non  (Hor.  Sat.  ii.  3,  260),  is  suspicious 
in  lengthening  agit-  by  a  kind  of  position  before  ubi,  although  less  so  than  the 
archaic  num  with  pure  m  Compare  also /«/#.$•  formates,  (Art.  22)  note,  which 
is  also  suspicious.  Corrections  are  easy  as  :  agit  quum,  agit  quT. 

F 


66  FINAL  M.  [Art  91. 

totally  inaudible,  but  if  the  following  word  commence 
with  a  consonant  the  vowel  before  m  may  be  lengthened, 
and  in  any  case  the  succeeding  consonant  must  be 
uttered  with  more  force,  to  indicate  the  excision  of  the 
m,  (see  Art.  82,  and  Art.  92). 

d.  Final  m  before  a  word  commencing  with  any  con- 
sonant but  j  or  z/,  is  to  be  rendered  effective  by  omitting 
the   m,   and   pronouncing  the  consonant   as  if  it  were 
doubled,  keeping  the  vowel  before  m  short,  but  running 
it  on  to  that  doubled  consonant,1  and  the  pitch  of  the 
voice  must  be  raised  upon  as  many  syllables  as  it  would 
have  been  had  the  words  been  separately  pronounced. 
The  final  m  before  enclitics  quc,  ne,  &c.  is  to  be  treated 
in   the   same  way.     Use   cqu  for  doubled   qu,  even   in 
fiamquc,  dumque  =.  ndcque,  ducque. 

e.  Final  im  followed  by /is  to  be  pronounced  as  I,  and 
final  urn  followed  by  v  as  u.     No  other  pronunciation 
could  have  well  prevailed.     It  may  be  best  to  pronounce 
mj  as  ij\  and  mv  as  uv  in  all  other  cases,  so  that  the 
/*   u  which  replace  m,  form    diphthongs  with    the   pre- 
ceding vowel.      But    as    a    compromise,    to   ride    over 
a  difficulty  which  there  is  no  authority  to   settle,2    the 

1  It  is  probable  that  the  sight  of  m  will  occasion  many  teachers  to  object  to 
this  rule,  and  to  wish  m  to  be  made  at  most  n  before  /,  d,  n,  /,  z/,  and  n  adul- 
terinum  (ng  English)  before  c,  g,  qu.     I  long  wished  it  myself.     But  I  could  not 
find  that  this  would  explain  Augustan  habits.    So  I  let  it  go.    Cases  like,  conficio, 
convTcium,  belong  of  course  to  an  older  stage  of  the  language.     The  fondness 
for  n  before  ./j  V,  is  quite  local      In  Scotland  Banff  is  written  and  £  am f  said, 
which  shews  a  precisely  opposite  feeling,  and  one  more  in  accordance  with  the 
positions  of  the  organs  of  speech. 

2  If  the  m  is  neglected  then  j'amj'am  would  be  equivalent  to  j'aja.      Now  if 
this  is  treated  as  in  ajacem,  cujus,  ejus,  we  should  say  ja'ja.      But  it  may  be 
questioned  whether  jaij a,  aijacem,  cuijus,  eijus,  &c.  would  not  be  more  correct. 
This  seems  at  least  to  have  been  the  opinion  of  the  later  grammarians  (Corssen 
I.  301 — 3),  but  of  what  value  is  that  for  Augustan  Latin?     It  is  possible  indeed 
that  Quintilian's  words  imply  Cicero's  usage  to  have  been  the  same  :  sciat  etiam 


Art.  91—93.]  FINAL  M.  67 

reader  may  always  pronounce  am,  em,  im,  om,  um  as 
simple  a,  e,  I,  d,  u  before  both  j  and  v.  The  final  m 
before  enclitic  ve  is  to  be  treated  in  the  same  way. 

ART.  92. — Mode  of  practice. — Rules  a  and  b  require  no 
new  practice,  as  the  pupil  is  already  familiar  with  slurred 
vowels.  Rule  c  requires  practice  in  giving  force  to  the 
following  consonant.  If  that  is  /,  /,  c  or  b,  d,  g,  this 
force  is  produced  by  making  the  closure  of  the  organs 
tighter,  so  that  the  following  sound  comes  out  more  ex- 
plosively, and  there  is  the  same  delay  between  closing  the 
organs  and  opening,  as  if  pp,  it,  cc  or  bb,  dd,  gg  occurred 
before  the  vowel.  But  if  the  following  consonant  be 
f>  sij>  vi  mi  n>  I*  r>  which  have  sounds  of  their  own  that 
can  be  made  both  long  and  loud,  then  prolong  them 
sensibly  and  firmly  before  the  vowel.  This  may  be  in- 
dicated on  the  black  board  by  doubling  the  initial  of  the 
following  word.  Thus  (A.  13)  incipia,  ffractl;  (F.  8) 
carpe  die,  cquamminimu,  ccredula  postero.1 

ART.  93. — The  rule  d  is  also  easy  to  carry  out  when 
once  the  effect  of  doubled  consonants  between  vowels 
has  been  properly  grasped.  The  difficulties  arise  first, 
from  thus  connecting  together  several  distinct  words,  and 
consequently  several  syllables  with  raised  pitch ;  secondly 
from  the  fact  that  the  doubled  consonant  occurs  in 
a  syllable  of  low  pitch,  and  often  little  force,  which  has 

[puer]  Ciceroni  placuisse  aiio  matmmque.  geminata  I  scrlbere  quod  si  est,  etiam 
jungetur  ut  consonans,  (i,  4,  u),  that  is,  if  so,  Cicero  must  have  said  aijo  maija. 
As  the  plan  is  very  reasonable  it  may  be  adopted  without  much  hesitation,  so 
that  we  should  read  (L.  20)  as,  jaijaffutu'rusru'sticus. 

1  Thus  I  find  in  a  curious  Neapolitan  version  of  the  Aeneid  by  Giancola  Sitillo, 
(Naples,  1784,  lent  me  by  Mr.  Hodgson),  in  a  translation  of  (A.),  the  following 
initial  reduplications  :  che  mme,  lo  ccomme,  uocchie  ssi,  la  parte  cchiu,  a  mme, 
io  line,  de  la  cchiu,  a  ffunno.  These  seem  to  imply  this  energy,  but  I  am  not 
sufficiently  acquainted  with  the  dialect  to  judge,  having  only  heard  very  little 
of  it  more  than  thirty  years  ago. 

F  2 


68  FINAL  M.  [Art.  93-95. 

nevertheless  to  be  made  sensibly  Ion?  ;  and  thirdly,  from  the 
necessity  of  distinguishing,  for  example,  tantuS'|sperat,  with 
two  /s,  from  ta"ntum  sperat  =  tantussperat  with  double  s. 
Hence  it  will  be  necessary  to  practise  detached  combina- 
tions of  words,  still  without  regard  to  sense  and  in  the 
singsong  manner,  until  they  can  be  executed  with  ease 
and  precision,  just  like  a  troublesome  passage  in  music. 
There  is  really  no  difficulty  for  an  Englishman  in  any  one 
of  the  sounds  to  be  produced,  because  they  are  all 
existent  in  his  own  language.  The  sole  difficulty  exists 
in  their  being  combined  in  an  unusual  manner. 

ART.  94. — Practise  first,  final  words,  as  :  dolo're  (A.  3) 
labo're  (A.  n),  fiirtl  (A.  18),  cre'do  e'quide  (B.  4)  which 
offer  no  difficulty  except  in  remembering  that  the  m  has 
only  to  be  regarded  as  a  mark  to  shew  that  the  preceding 
vowel  is  long. 

Next,  final  words  "energising"  the  next  consonant,  as 
already  cited. 

Then  words  with  enclitics  ve,  as  dolopuve  (A.  7).  and 
especially  with  enclitic  que,  as  uteriicque  (A.  20),  le- 
giicque  (D.  9),  sylvanicque  (I.  i),  cert£cque  (I.  10)  pavi- 
diicque  (L.  17).  The  difficulty  here  is  simply  in  not 
inserting  the  customary  m. 

ART.  95. — Lastly,  the  very  common  cases  of  joined 
words  must  be  practised  till  they  run  with  perfect  ease 
from  the  tongue.  Little  phrases  must  be  practised 
separately,  or  otherwise  no  good  result  will  be  obtained. 
Thus  infdndurregina  (A.  3)  et  quo'ruppars  magna,  myr- 
midonuddolop^ve  (A.  7),  jannox  (A.  8),  (quite  different 
from  jannox,  in  which  the  voice  falls  on  the  second  syl- 
lable), ducto'res  danau  ttot  jallabentibus  annis  (A.  14), 
instar  mdntis  equu  ddivlna  palladis  arte  (A.  15),  (as  this  is 


Art.  95.]  FINAL  M.  69 

a  common  example  in  grammars,  it  will  be  very  difficult  to 
correct  the  old  bad  habits  of  reading  it),  vo'tuppro  reditu 
(A.  17)  delecta  vim  ssortl'ti  (A.  18),  dives  opu,  ppriami 
(A.  22),  nunc  tantussinus  (A.  23),  quo  fe'ssurrapitis  (B.  i), 
ingentellu'ctu  nne  quae're,  or  inge'ntellu'ctunne  quae're 
(C.  i,  practise  both  ways),  hunc  tanturTata  (C.  2),  nimiu 
vobis  (C.  3),  quantos  ille  viru  mmagnammavortis  adurbe 
(C.  5),  quuttiimulu  ppraeterlabere  or  quuttumuluppraeter- 
labere  (C.  7,  practise  both,  the  last  will  be  found  difficult 
owing  to  the  number  of  syllables  necessarily  kept  in 
a  low  pitch),  quisquaddege'nte  (C.  8),  intantusspe  toilet 
aVos  (C.  9),  se  tantutte'llus  (C.  10),  seu  quiippe'des  iret 
(C.  13),  purpiireos  spargafflo'res  animacque  nepotis  his 
salte^accumuleddoms. 

Also  try  (HoR.  Od.  3,  i,  5,) 

re'guttimendo-  ruin-  propios  greges, 
r'eges  in  ipsos  imperi-  uest-  Jovis  ; 

out  of  which,  by  practice,  a  really  majestic  effect  can 
be  obtained.  Dwell  on  the  do  and  run  the  ru  very 
briefly  on  to  the  /;/,  which,  without  being  unduly  em- 
phasised or  raised  in  pitch,  must  be  fully  lengthened. 
The  uest  following  ri,  will  be  found  difficult  at  first. 

The  well-known  line  Aen.  3,  658,  is  merely  a  case  of 
omitted  m  and  slurred  vowels,  and  is  not  likely  to 
occasion  difficulty,  except  perhaps  in  giving  the  high 
pitch  to  the  first  syllable  in  mgens,  thus 

mon-strdfhor-ren-dijin-for-m^n-gens  cul-lumen  ademptu. 

The  following  are  also  useful  exercises  : — 

tantus  sperabat,  tantus  speraverat  her5s  ; 
tantum  sperabam,  tantum  speraveram  et  ipse. 

Read  the  second  line  :  tantusspera/ba,  ttantusspera/ve- 


70  FINAL  M.  [Art.  95—97. 

raet-ipse,  and  keep  the  tusspe,  bd  ttan,  quite  distinct  from 
the  tus  spe,  and  bat  tan  of  the  other  line,  where  the  words 
will  distinctly  separate  s  s  and  /  /  as  two  letters,  from  the 
double  letters  ss  and  //. 

Distinguish,  qul  musam  vidit,  musa  vidit  musam ;  as  : 
qul  mu'sau  vi'dit,  musa  vi'dit  mu'sa,  which  shews  that  the 
mu'sau  means  musam  and  the  first  musa  therefore  must 
be  musa  the  ablative  ("  by  means  of  the  muse  "),  so  that 
the  last  musa  must  be  the  accusative  musam. 

ART.  96. — These  examples  will  serve  to  shew  how  the 
passages  may  be  written  on  the  black  board  by  the 
teacher,  for  pronunciation  by  the  pupil,  after  he  has 
pronounced  them  himself  several  times  to  the  class 
(Art.  19  note).  All  pronunciation  is  acquired  by  imi- 
tation, and  it  is  not  till  after  hearing  a  sound  many  times 
that  we  are  able  to  grasp  it  sufficiently  well  to  imitate. 
It  is  a  mistake  constantly  made  by  teachers  of  language 
to  suppose  that  a  pupil  knows  by  once  hearing  unfamiliar 
sounds,  or  even  unfamiliar  combinations  of  familiar 
sounds.  When  pupils  are  made  to  imitate  too  soon,  they 
acquire  an  erroneous  pronunciation,  which  they  after- 
wards hear  constantly  from  themselves  actually  or  men- 
tally, and  believe  that  they  hear  from  the  teacher  during 
the  small  fraction  of  a  second  that  each  sound  lasts, 
and  hence  the  habits  of  these  organs  become  fixed.  Jn 
the  present  case  both  teacher  and  pupil  have  been  prob- 
ably for  years  accustomed  to  attribute  a  different  sound 
to  m  final,  to  give  it  the  same  sound  in  Latin  jam  as  in 
English  jam,  and  the  utmost  care  and  attention  will  be 
required  to  overcome  this  habit. 

ART.  97. — It  would  be  not  a  bad  exercise  to  require 
pupils  to  write  out  Latin  passages  after  the  model 


Art.  97.]  FINAL  M.  71 

of  the  preceding,  indicating  the  words  that  are  run  on 
together  by  writing  them  together,  marking  the  acute  and 
circumflex  accent  always,  together  with  the  naturally  long 
vowel,  writing  also  the  proper  sound  heard  in  place  of 
m  when  it  is  sounded  at  all,  and  omitting  it  otherwise. 
Thus  the  passage  (C.)  would  be  thus  written  : — 

6  nate  ingentellu'ctu  nne  quaere  tuo'ru, 

ostendent  terris  hunc  tantuffata,  nequeiiltra 

esse  sinent,  nimiu  vo'bis  romanapropa'go 

visa  potens,  super!,  propriahaec  sido'na  fuissent.       K 

quantos  ille  viru,  mmagnammavortis  adurbe 

campus  aget  gemitus,  velquae,  tiberine,  videbis, 

funera,  quuttumuluppraeterlabere  recente  ! 

nee  puer  iliaca  quisquaddegente  lati'nos 

intantusspe  toilet  avos,  nee  romula  quonda 

ullo  se  tantuttellus  [or  tantu  ttellus]  jactabit  ; 

heu  pietas,  heu  prisca  fides,  invictaque  bello 

dextera  !  non  ill!  se  quisquaimpune  tulisset 

obvius  arma'to,  seu  quiippedes  Tret  inhoste, 

seu  spumantis  equi  foderet  calca'ribus  armos, 

heu  miserande  piier,  siqua  fataaspera  riimpas 

tu  marcellus  eris.     manibus  date  H'lia  ple'ms, 

purpiireos  spargafflo'res,  animacque  nepotis 

his  salteaccumuleddo'ms,  et  fungar  ina'm 

mu'nere. 

The  writing  will  fix  the  sounds  and  accents  in  the 
minds  of  the  pupils.  Then  several  pupils  should  be 
called  on  in  succession  to  read  out  what  one  has 
written,  and  the  others  should  watch  to  check  them,  by 
ear  only,  without  looking  at  the  writing,  which  is  best 
effected  perhaps  by  turning  the  back  of  the  blackboard 
to  the  listeners.  The  master  should  be  just  as  much  on 
the  watch  for  corrections  to  be  made,  as  the  pupils  to 
make  them,  and  should  not  be  satisfied  unless  attention  is 
drawn  to  the  error,  and  the  right  sound  is  given,  by  some 


72  FINAL  M.  [Art.  97,  98. 

of  the  pupils.  Once  reached,  the  right  pronunciation 
should  be  repeated  over  and  over  again  correctly,  to 
overcome  the  former  vicious  habit.  A  special  study 
should  be  made  of  monosyllabic  slurs  and  assimilations, 
as  :  tuintendens  turremittens  (M.  10),  suadmiratus  (R.  9). 
Few  perhaps  would  not  hesitate  at  first  over  the  line 
quoted  from  Horace  in  Art.  90 ;  committes  reomneet 
vl'taet  cuccorpore  fa'ma,  as  it  must  be  read  at  first  for 
mere  metre.  Afterwards  the  efs  will  be  more  separated 
as :  reomne,  et  vita,  et  cuccorpore. 

ART.  98. — A  purely  scholastic  question,  of  some  im- 
portance however,  arises  from  teaching  grammar  to  boys. 
How  is  the  presence  of  the  unpronounced  m  to  be 
marked  ?  Should  not  boys  be  made  to  pronounce  it,  to 
shew  the  teacher  that  they  know  it  to  be  present  ?  If 
a  boy  repeats  amaba,  how  is  the  teacher  to  know  that  the 
boy  knows  the  word  to  be  written  dmdbam  ?  Let  the 
classical  master  remember  English.  How  does  the  pupil 
know  that  thou  art,  you  are,  are  spelled  as  they  are,  when 
he  speaks  the  ou  in  thou  and  you  quite  differently,  and  the 
ar  without  any  e  in  art  in  the  same  way  as  the  are  in 
you  are,  which  has  an  e  ?  If  the  commonest  "  school 
board"  children  and  teachers  get  over  this  difficulty, 
what  is  to  be  expected  from  "  classical  school "  children 
and  teachers  ?  Again  let  the  classical  master  consult  his 
colleague  the  French  teacher.  When  a  boy  repeats  in 
French,  je  sui,  tu  e,  il  e,  nou  som,  vouzet,  ilson ;  how 
does  he  know  of  the  existence  of  the  numerous  con- 
sonants, which  on  occasion  may  be  very  active,  as  je 
sidr  ici,  il  son/  ici?  Or  let  him  ask  himself  how,  on  the 
present  plan  of  barbaric  English  Latin  pronunciation, 
the  boy  knows  that  vitium  has  /,  convidum  has  c, 


Art.  98—100.]  L  YRIC  VERSE  RHYTHM.  73 

Elysium  has  s,  when  he  hears  English  sh  in  all?  The 
boy  learns  Latin  by  eye  chiefly,  and  hence  knows  the  m 
from  the  first,  and  his  main  difficulty  consists,  not  in  for- 
getting its  presence,  but  in  recollecting  it  too  well.  How- 
ever, the  master  has  an  easy  plan  in  speech.  Let  the 
boy  say  :  amabam  ego,  amabam  te,  amabam  vos,  amabam 
matrem.  If  he  uses  the  same  amdba  in  all  cases,  he  does 
not  know  that  the  word  ends  in  m.  But  if  he  says  :  ama- 
baego,  ama'batte,  ama'-bauvos,  ama'bamma'tre,  (not 
ama'bam  ma/trem)  he  may  be  trusted  to  have  a  right 
mental  vision  of  the  spelling.  It  is  right,  however,  that 
teachers  should  remember  that  for  this  one  new  difficulty, 
which  is  felt  as  a  difficulty  only  because  it  is  new,  thou- 
sands of  facilitations,  orthographical,  grammatical,  ety- 
mological and  metrical,  would  be  introduced  by  the 
quantitative  system  of  pronunciation. 


VIII.  Elegiac  and  Lyric  Verse  Rhythm. 

ART.  99. — By  this  time  the  pupils  should  have  over- 
come all  rhythmical  difficulties  of  pronunciation  so  far 
as  length  of  syllable  and  pitch  accent  is  concerned. 
But  it  will  always  be  safest  to  exercise  the  pupil  in  the 
singsong  fashion  and  with  the  pendulum,  to  acquire  any 
new  metre,  slowly  at  first  to  make  sure  of  each  syllable, 
and  then  rapidly.  The  following  remarks  apply  to  the 
acquisition  of  new  metrical  systems. 

ART.  100. — After  hexameters  proceed  to  choriambic 
verses.  These  have  generally  a  spondee  or  iambus  to 
begin  and  an  iambus  to  end.  (E.)  and  (F.)  are  very 
instructive.  Observe  in  (F.)  how  the  division  of  the 


74  LYRIC  VERSE  RHYTHM.  [Art.  100—102. 

words  varies  the  three  choriamb!  in  each  line,  except  in 
(F.  5,)  and  note  the  consequent  monotony  of  that  line. 

ART.  1 01. — Pentameters  are  best  studied  as  cho- 
riambic,  consisting  of  two  halves,  composed  (as  I  view 
them)  each  of  a  dactyle  and  choriambus,  varying  into 
a  spondee  and  molossus  in  the  first  half  only.  Observe 
also  the  great  difference  of  the  pitch  rhythm  in  older 
writers,  as  Propertius  (G.),  and  the  stereotyped  Ovidian 
cadence  in  (H.),  where  the  pentameter  must  end  in  a  dis- 
syllable, of  which  the  last  syllable  comparatively  seldom 
ends  in  a  short  open  vowel.  Nothing  serves  to  shew  the 
great  difference  of  feeling  in  Greek  and  Latin  rhythm  more 
than  the  treatment  of  the  final  half  of  a  pentameter  line. 

ART.  102. — Both  the  Sapphic  and  Alcaic  stanzas,  in 
(L)  and  (K.),  also  sound  to  me  principally  choriambic. 
In  the  Sapphic,  the  choriamb  is  preceded  by  a  compound 
foot,  called  a  second  epitrite,  consisting  of  a  trochee  and 
spondee,  and  as  a  general  rule  a  word  ends  with  the 
first  syllable  of  the  choriamb  (which  would  therefore  have 
a  low  pitch),  though  sometimes  it  ends  with  the  second 
syllable,  as  in  (I.  i,  9,  10.)  The  common  English 
"swing"  with  which  these  verses  are  read  is  simply 
atrocious.1  Even  the  final  short  line  gives  me  the  feeling 


other  pitches.  It  is  not  possible  to  give  the  English  sounds  in  Latin  letters,  but 
I  can  fancy  Maecenas  on  waking,  after  1900  years'  sleep,  in  an  English  school, 
attempting  to  write  the  English  pronunciation  of  (I.  2 — 8),  somewhat  in  this 
"'"-' ;  the  final  italic  m  indicating  that  it  was  heard  : 
lu'-sidew  sl'lai  df'kesoco  le'ndai 


way 


sem'peret  k'ol'tai,  de'  tiquipri  ke''mer 

tem'pori  se'kr5. 

quo''sibi  lai'nai  mdn'niulri  ver'sius 
ver'ziniz  lec'tas  piu'er5squi  cas  tos 
dai'squaibes  se'ptew  plac'iulri  kdl'llz 
dai'siri  l5"dls. 


Art.  102—104.]  LYRIC  VERSE  RHYTHM.  75 

of  the  central  choriamb,  with  a  syllable  over,  rather  than 
of  a  dactyle  and  spondee. 

ART.  103. — The  same  choriamb  or  its  equivalent 
molossus,  which  were  both  very  common  combinations 
in  Latin  speech,  seem  also,  to  me,  to  give  their  own  pecu- 
liar character  to  the  Alcaic  stanza.  Thus  in  (K.)  the 
choriambs  :  propositl,  prava  juben-  |  tium,  men-te  quatit-, 
tur-bidus  had-  |  riae,  mag-na  manus-,  im-pavidum-,  and 
the  molossi :  in-stan-tis-,  il-labatur,  are  (to  me)  the  pith 
of  the  rhythm,  the  rest  is  accessory.  This  of  course  is 
far  from  being  the  usual  view. 

ART.  104. — Iambic  verses  come  next  to  prose,  and 
may  be  studied  in  Horace,  or  Phaedrus,  to  escape  the 
ancient  comic  writers,  Terence  and  Plautus,  where  the 
rhythm  was  so  difficult  to  seize  even  by  Augustan 
Romans,  that  Cicero  felt  the  necessity  of  a  piper  to 
make  him  feel  it  (O.  13-15),  and  Horace  could  not  scan 
Plautus,  even  on  his  fingers,  as  we  learn  by  his  saying  to 
the  Pisones  (Ars.  Poet.  270 — 274): — 

at  vestri  proavi  Plautlnos  et  numeros  et 
laudavere  sales,  nimium  patienter  utrumque, 
ne  dicam  stulte  mirati ;  si  modo  ego  et  vos 
sclmus  inurbanum  lepido  seponere  dicto, 
legitimumque  sonum  digitis  callemus  et  aure.- 

Of  course  he  would  have  no  conception  that  the  words  were  those  of  his  old 
friend  Horace,  in  a  metre  invented  by  Sappho,  and  it  would  be  real  cruelty  to 
enlighten  his  darkness.  The  remarkable  parts  of  this  method  of  reading  are,  the 
foot  of  four  syllables,  the  first  having  both  the  force  and  pitch  accent,  and  the 
last  three  just  audible,  and  the  uniform  singsong  of  the  pitch.  Such  feet  and 
such  swing  occur  only  in  English  sapphics,  as  in  this  stanza  from  Canning's  well- 
known  Needy  Knifegrinder. 

I''  should  be  |  glad'  to  |  drink'  your  honour's  |  health"  in 
A  '  pot  of  |  beer,  if  |  you'  would  give  me  |  six'  pence, 
But*  for  my  |  part',  I  I  nev'er  love  to  |  med'  die 

With'  poli  |  tics',  sir. 

Here  English  accents  are  magnificently  procrusteanised  to  fit  into  the  school- 
boy's rhythm.  "  O,  reform  it  altogether  ! " 


76  L  YRIC  VERSE  RHYTHM.  [Art.  105. 

ART.  105. — The  putative  resemblance  of  the  Latin 
Iambic  to  the  ordinary  English  verse  occasions  much 
difficulty  to  an  Englishman,  because  it  constantly  mis- 
leads him  into  violations  of  the  laws  of  quantity.1  It  is 
also  difficult  to  mark  the  time  in  Iambic  verse,  because 
the  length  of  each  foot  is  generally  not  constant.  In 
Catullus  we  have  indeed  examples  of  pure  Iambic  verses 
in  the  poems — 

iv.  phaselus  ille  quern  videtis,  hospites 

ait  fuisse  navium  celerrimus. 

xxvii.  (xxix.)  quis  hoc  potest  videre,  quis  potest  pati 
nisi^impudicus  et  vorax  et  aleo  ? 

But  generally  a  spondee  was  allowed  in  the  first,  third, 
or  fifth  foot.  The  effect  of  these  spondees  requires 
careful  consideration.  That  it  was  very  marked  and  im- 
portant is  clear  from  the  words  of  Horace  who  calls  the 
iamb  a  "  rapid  foot,"  and  says  that  originally  every  foot 
in  the  senarius  was  an  iamb,  but  that  "  not  long  since,*' 
the  verse  admitted  u  steady  spondees  "  to  make  the  lines 
"  slower  and  more  solemn,"  but  that  Accius  seldom  used 
this  liberty,  although  Ennius  either  from  carelessness  or 

1  English  verse  is  not  regulated  by  the  length  of  the  syllables  it  contains,  as 
Latin  verse  is ;  although  length,  of  syllables  frequently  produces  rhythmical 
effects,  which  shew  the  master  hand,  just  as  pitch-accents  embellish  Latin 
rhythm.  If  we  consider  that  the  names  of  Latin  feet  refer  to  combinations  of 
long  and  short  syllables  exclusively,  tjien  it  will  be  seen  how  inappropriate  they 
are  to  English  measures,  or  combinations  of  strong-  and  -weak  syllables  ex- 
clusively (using  these  adjectives  as  expressing  greater  and  smaller  amounts  of 
force).  If  we  persist  in  using  an  iamb  in  English  for  the  measure  of  a  weak 
syllable  followed  by  a  strong  one,  as  awa'ke,  and  appropriate  the  other  names  in 
the  same  way,  let  us  at  least  prefix  such  a  term  as  force,  and  speak  of  awa'kf 
being  a  force-iamb ;  slee'per  a  force-trochee,  ver'ity  ^force-dactyle,  and  so  on. 
Or,  to  avoid  repetition,  preface  any  such  use  of  the  names  of  feet  by  the  notice  : 
"names  of  quantitative  feet  are  here  employed  solely  for  force-measures'* 
There  is  more  than  a  mere  question  of  name  here.  The  application  of  the  old 
name  to  the  new  case  arose  from  an  absolute  confusion  of  ideas,  which  the  con- 
tinuance of  the  custom  perpetuates. 


Art.  105,  106.]  LYRIC  VERSE  RHYTHM.  77 

ignorance  of  his  art  allowed  his  lines  to  be  "  oppressed ;> 
by  spondees.  The  whole  passage  is  of  great  importance 
as  shewing  the  sensible  effect  of  spondees  as  contrasted 
with  iambs.1  The  iamb  itself,  by  merely  resolving  its 
long  syllable  into  two  short,  might  be  replaced  by  a  tri- 
brach, in  all  places  but  the  last,  and  the  spondee  by 
a  dactyle  or  anapest.  This  occasions  the  difficulty  in 
counting  time,  for  the  number  of  short  lengths  in  a  foot 
was  variable.  In  (L.  i,  7)  we  have  pure  iambics,  the  only 
cases  in  this  example.  One  spondee  occurs  in  (L.  2,  3, 
4,  6,  8,  9,  10,  n,  12,  14,  16,  18,  19.)  Two  spondees 
occur  in  (L.  5,  13,  15,  20,  21,  22.)  A  tribrach  is  found  in 
(L.  8)  jace  |  re  modo,  and  (L.  17)  pavidum  |  que  lepo  |  rem. 
A  dactyle  occurs  in  (L.  14)  aut  ami  |  te.  And  two  anapests 
as  well  as  a  tribrach  and  a  slur  occur  in  (L.  17)  pavidum  | 
que  lepo  |  rem  et  ad  |  venam  |  laqueo  |  gruem,  and  one 
of  these  occurs  very  unusually  in  the  fifth  foot. 

ART.  1 06. — Phaedrus  allows  iamb,  tribrach,  spondee, 
dactyle  or  anapest  in  any  place,  except  the  last.  The 
comedians  are  even  more  dreadful.  The  effect  to  me  is 

1  syllaba  longa  brevl  subjecta  vocatur  iambus, 

pes  citTts;  unde  etiam  trimetrls  accrescere  jussit 

nomen  iambeis,  quum  senos  redderet  ictus 

primus  ad  extremum  similis  sibi :  non  ita  prtdem 

tardior  ut  paulo  gravidrqut  veniret  ad  aures, 

spondeos  stabiles  in  jura  paterna  recepit 

commodus  et  patiens,  non  ut  de  sede  secunda 

cederet  aut  quarta  socialiter.     hie  et  in  Acci 

nobilibus  trimetrls  appdret  rdrus,  et  EnnI 

in  scenam  missos  cum  magno  pondere  versus 

aut  operae  celeris  nimium  curaque  carentis, 

aut  ignoratae  premit  artis  crlmine  turpl. 

A.  P.  251—262. 

Observe  here  the  use  of  ictus  as  denoting  a  metrical  interval,  and  the  implica- 
tion that  the  length  of  these  intervals  varied  when  the  spondee  was  introduced, 
with  which  compare  Quint.  9,  4,  51,  who  speaks  of  intervals  between  the  beats 
(percussiones)  of  four  and  five  units  (o-n^ela),  so  that  classical  time-keeping  was 
very  different  from  our  conductor's  baton.  See  (Art.  14). 


78  LYRIC  VERSE  RHYTHM.  [Art.  106. 

then  merely  prose  spoiled — with  neither  the  melody  of 
verse  nor  the  fine  flow  of  prose, — reminding  me  forcibly 
of  my  own  boyish  attempts  at  blank  verse,  when  I  con- 
sidered it  to  be  simply  prose  chopped  up  into  lengths  of 
ten  syllables.  This  may  be  very  unscholarlike,  but  it  is 
a  comfort  to  err  on  such  a  point  with  Cicero  and  Horace. 
If  the  older  writers  had  a  really  intelligible  metre  (as  we 
cannot  but  believe  they  had),  then  their  language  and  its 
pronunciation  were  entirely  different  from  the  Augustan 
Latin  (which  is  otherwise  extremely  probable),  and  we 
have  not  as  yet  acquired  a  sufficient  insight  into  it.  The 
English  scansions  I  have  heard  attempted  viva  voce, 
were  simply  impossible  and  intolerable,  and  emendations 
proposed  upon  the  hypothesis  of  their  correctness  are  to 
me  by  that  very  hypothesis  discredited.  There  was  the 
same  feeling  at  one  time  respecting  Chaucerian  metres, 
till  a  key  to  his  pronunciation  was  found.  We  must 
wait  for  a  similar  key  to  Plautus  and  Terence.  At  least 
I  have  not  found  it  in  Corssen.  At  present  then  I  can 
only  recommend  these  older  writings  to  be  read  in  the 
Augustan  pronunciation  as  semi- versified  prose, — knowing 
indeed  that  this  must  be  considerably  wrong,  but  feeling 
that  it  cannot  be  so  dreadfully  wrong  as  our  present 
habits.  Reading  Phaedrus  rhythmically  may  be  a  useful 
introduction.  He  certainly  felt  the  rhythm  himself,  or  he 
could  not  have  commenced  by  saying 

Aesopus  auctor  quam  materiam  repperit 
hanc  ego  polivl  versibus  senariis  ! 

The  first  line,  with  its  dactyle  in  the  fourth  place 
(whence  Horace  refuses  to  oust  the  iamb)  is  a  study  in 
itself.  The  number  of  feet  and  the  final  iamb  are  the 
only  remaining  marks  of  the  iambic  trimeter. 


Art.  107,  108.]  PROSE  RHYTHM.  79 


IX.  Prose  Rhythm. 

ART.  107. — Prose  is  the  most  difficult  thing  to  read  in 
any  language.  We  allow  much  to  the  swing  of  verse,  but 
if  the  prose  reader  does  not  bring  out  the  eloquence  of 
the  original,  and  make  all  the  points  as  he  goes  on, 
pronouncing  purely,  accurately,  and  distinctly,  and  pre- 
serving the  national  custom  of  intonation,  at  the  same 
time,  we  think  little  of  him.  The  passages  quoted  from 
Cicero  in  the  Appendix  (M.,  N.,  O.,  P.,  Q.,  R.),  will  serve 
to  show  the  extreme  importance  which  he  attributed  to 
prose  rhythm  and  to  its  clear  separation  from  verse 
rhythm. 

ART.  1 08. — It  is  curious  to  see  him  in  (M.)  finding  the 
Latin  system  of  intonation  the  only  natural  one.  The 
Latins  and  Greeks  indeed  agreed  in  not  placing  the 
highest  pitch  at  a  greater  distance  than  the  third  syllable 
from  the  end.  but  the  Greeks  allowed  it  on  the  last  syl- 
lable, (as  in  the  word  in  O.  9)  and  the  Latins,  at  least 
in  Quintilian's  time,  did  not.1  Still  the  absolute  fixity  of 
the  Latin  custom  is  proved  by  Cicero's  view  that  it  was 
natural.  In  (R.)  we  have  it  confirmed  by  the  story  of 
Gracchus's  piper,  in  (N.)  the  same  steady  observance  of 
quantity  is  shewn,  and  in  (O.)  and  (P.)  it  appears  that  in 
prose  as  well  as  in  (at  least  iambic)  verse,  rhythm  was 

1  See  the  decisive  passages  quoted  from  Quintilian  (Art.  41  note).  When 
Priscian  admits  the  accent  to  be  placed  on  the  last  syllable  "  discretions  causa," 
his  accentus  was  no  longer  Quintilian's  tenor,  and  Cicero's  acuta  et  gravis  vox. 
Hence  all  the  indications  cited  by  Corssen  (II.  808,  et  sqq.)  are  inapplicable  to 
Augustan  pronunciation,  that  is,  to  our  present  investigation.  There  is  nothing 
so  unscientific  in  historical  investigations  of  pronunciation,  as  the  confusion  of 
periods.  No  attempt  should  be  made  to  venture  on  this  dangerous  ground  in 
our  imitations  of  Augustan  Latin. 


8o  PROSE  RHYTHM.  [Art.  108,  109. 

chiefly  regulated  by  the  quantity  of  the  few  syllables 
towards  the  close  of  a  clause. 

ART.  109. — In  other  places  Cicero  cautions  the 
speaker  of  prose  from  falling  into  verse.  Thus  quoting 
Aristotle  approvingly  with  a  slight  change,  he  says  (Or. 
§  194)  : 

Iambus  enirn  et  dactylus  in  versum  cadunt  maxime ;  itaque  ut 
versum  fugimus  in  oratione,  sic  hi  sunt  evitandi  continuati  pedes. 
Aliud  enim  quiddam  est  oratio,  nee  quidquam  inimicius  quam  ilia 
versibus.  Paeon  aurem  minime  est  aptum  ad  versum  ;  quo  liben- 
tius  eum  recepit  oratio. 

And  then,  from  himself  he  says  (Ib.  §  195) : 

Ego  autem  sentio,  omnes  in  oratione  esse  quasi  peraristos  et  con- 
fuses pedes.  Nee  enim  effugere  possemus  animadversi5nem,  si 
semper  isdem  uteremur.  Quia  neque  numerosa  esse,  ut  poema  ; 
neque  extra  numerum,  ut  sermo  vulgi  est,  debet  esse  oratio.  Al- 
terum  nimis  est  vinctum,  ut  de  industria  factum  appareat :  alterum 
nimis  d'ssolutum,  ut  pervagatum,  ac  vulgare  videatur  :  ut  ab  altero 
non  delectere,  alterum  oderis.  Sit  igitur  permista  et  temperata 
numeris,  nee  dissoluta  nee  tota  numerosa.  Paeone  maxime  (quo- 
niam  optimus  auctor  ita  censet)  sed  reliquis  eliam  numeris  quos 
ille  praeterit,  temperata. 

The  paeon  has  three  short  syllables  and  one  long, 
differently  distributed,  and  Cicero  really  dissents  from 
Aristotle  as  to  its  use  (P.  9,  10).  No  doubt  this  de- 
pended on  the  difference  between  Greek  and  Latin 
intonation.  The  great  value  of  these  passages  to  us  is 
to  shew  that  quantity  was  the  only  recognized  guide  to 
rhythm  in  prose  and  verse.  Quintilian  thoroughly 
agrees  with  Cicero's  view,  saying : 

In  compositione  orationis  certior  et  magis  omnium  aperta  servan 
debet  dimensio.  Est  igitur  in^pedibus,  (9,  4,  52. )  Ratio  vero  pedum  in 


Art.  109,  no.]  PKOSE  RHYTHM.  81 

oratione  est  multo  quam  in  versu  difficilior  :  prlmum  quod  versus 
paucis  continetur,  oratio  Iongi5res  habet  saepe  circuitus  [never 
'  circuwitus,'  see  p.  65]:  deinde  quod  versus  semper  similis  sibi 
est  et  una  ratione  [unaltered  measurement]  decurrit,  orationis 
compositio,  nisi  varia  est,  et  offendit  simultudine  et  in  affectatiSne 
deprehenditur.  Et  in  omni  quidem  corpore  totoque  (ut  ita  dixerim) 
tractu  numerus  insertus  est.  Neque  enim  loqui  possumus  nisi  syllabis 
brevibus  ac  longis,  ex  quibus  pedes  fmnt  (9,  4,  60.  61.) 

ART.  i  ic. — To  teach  a  person  to  read  prose  well  even 
in  his  own  language  is  difficult,  partly  because  he  has 
seldom  heard  prose  well  read,  though  he  is  constantly 
hearing  prose  spoken  around  him,  intonated,  but  un- 
rhythmical. In  the  case  of  a  dead  language,  like  the 
Latin,  which  the  pupil  never  hears  spoken,  and  seldom 
hears  read,  except  by  himself  or  his  equally  ignorant  and 
hobbling  fellow-scholars,  this  difficulty  is  inordinately 
increased.  Let  me  once  more  impress  on  every  teacher 
of  Latin  the  duty  of  himself  learning  to  read  Latin 
readily  according  to  accent  and  quantity ;  the  duty  of  his 
reading  out  to  his  pupils,  of  his  setting  them  a  pattern / 
of  his  hearing  that  they  follow  it,  of  his  correcting  their 
mistakes,  of  his  leading  them  into  right  habits.  If  the 
quantitative  pronunciation  be  adopted,  no  one  will  be  fit 
to  become  a  classical  teacher  who  cannot  read  a  simple 
Latin  sentence  decently  with  a  strict  observance  of  that 
quantity  by  which  alone  the  greatest  of  Latin  orators 
regulated  his  own  rhythms.  We  have  by  this  time  also 
probably  learned  to  acknowledge  that  the  introduction 
of  a  pitch  accent,  that  is,  the  elevation  of  the  pitch  of 
the  voice  on  the  so-called  accented  syllable,  and  its  de- 
pression on  the  other  syllables,  even  in  interrogative 
sentences,  is  quite  as  essential  to  the  feeling  of  that  part 

1  See  Art.  19,  note,  and  Art.  96. 


82  PROSE  RHYTHM.  [Art.  110,  in. 

of  Latin  rhythm  which  depends  npon  caesura,  or  the 
division  ot  words ;  and  that  the  adoption  of  our  English 
freedom  of  pitch,  or  rising  inflection  in  questions,  must 
have  been  as  disagreeable  to  an  Augustan  Roman,  as  the 
Scotch  or  French  intonation  of  English  is  to  a  Londoner. 
Think  how  Shakspere's  lines  would  fall  from  the  mouth 
of  a  Frenchman  !  There  are  some  Frenchmen  (as 
Fechter)  that  give  our  English  rhythms  far  better  than 
we  English  can  hope  to  give  the  Latin  rhythms ;  but  even 
in  them  we  at  once  detect  the  foreign  intonation  which 
destroys  the  genuine  roll,  as  we  like  to  hear  it — though 
certainly  our  own  modern  speech  would  have  been  very 
thin  and  poor,  effeminate  and  affected,  in  Shakspere's 
own  ears.  But  only  fancy  a  Frenchman  declaiming 
Shakspere  with  his  own  values  of  the  vowels,  his  own 
curious  use  of  the  force  and  pitch  accent  and  emphasis, 
his  own  treatment  of  quantity,  and  his  own  intonation  ! 
Would  not  every  Englishman  stop  his  ears  and  flee? 
And  this  is  but  a  faint  shadow  of  the  atrocious  manner  in 
which  we  have  hitherto  dared  to  treat  Virgil  and  Horace 
and  Cicero ! 

ART.  in. — My  remarks  have  been  directed  to  the 
case  of  a  transition,  where  the  pupils  have  been  hitherto 
accustomed  to  our  vile  English  pronunciation  of  Latin, 
and  I  have  also  taken  into  consideration  the  difficulties 
which  the  teachers  themselves  have  to  overcome  in 
unlearning  the  old  and  learning  the  new.  When  the 
teachers  are  able  to  read  with  instinctive  fluency,  and 
begin  with  young  boys,  making  them  read  by  quantity 
and  pitch  from  the  first,  the  whole  matter  is  much  sim- 
plified. Care  should  be  taken  that  all  long  vowels  are 
properly  marked  in  the  school  books.  There  is  no 


Art.  ill,  112.]  PROSE  RHYTHM.  83 

occasion  to  mark  unpronounced  or  assimilated  ///,  or  the 
short  vowels ;  and  I  cannot  sufficiently  reprobate  the 
usual  custom  of  marking  a  vowel  as  long,  when  all  we 
know  is  that  the  syllable  containing  it  is  long,  owing  to 
a  concurrence  of  consonants  (see  Art.  23,  note).  The 
teacher  must  carefully  read  out  the  words  to  be  learned. 
He  has  to  become  a  teacher  of  reading,  and  must  recog- 
nise the  responsibilities  and  difficulties  of  that  office.  Of 
course,  such  teaching  begins  with  prose — and  very  prosy 
unrhythmical  prose ;  but  the  length  and  pitch  of  each 
syllable  can  be  scrupulously  observed  even  in  declining, 
musa,  mu'sae,  and  conjugating,  amo,  amas,  amat.  Indeed 
if  a  pupil  can  regularly  and  securely  mark  the  pitch 
accent  and  quantity  in  every  form  of  the  usual  paradigms 
given  in  grammars,  he  will  have  very  little  difficulty  in 
what  follows.  But  when  boys  are  allowed  to  say  (using 
Latin  letters  to  express  our  English  pronunciation) : 
emo!  emas'  emaf  eme'mes  emetis  eman't,  emebanr 
emebas*  einebaf  am-ebe'mes  am-ebetis  emeban't,  and  so 
on,  the  master  is  laying  up  a  store  of  difficulties  for  the 
future  (see  Art.  35  ;  see  also  Art.  98.) 

ART.  112. — The  great  question  for  an  Englishman  is, 
what  shall  he  do  with  his  own  force  accent?  The 
answer  is  pretty  much  the  same  as  for  French — Put  it  by, 
and  say  as  little  about  it  as  possible.  An  Englishman 
cannot  avoid,  and  has  no  occasion  to  avoid,  speaking 
some  syllables  forcibly  and  emphatically ;  but  he  must 
never  allow  that  force,  as  in  his  own  language,  to  alter 
the  relative  length  or  pitch  of  the  syllables,  or  the  purity 
of  the  vowel  sounds.  Taking  these  precautions,  at- 
tending most  scrupulously  to  these  points,  he  may  do 
pretty  well  what  he  pleases  with  the  force  accent.  How, 

G  2 


PXOSE  RHYTHM. 


[Art.  112. 


>   o 


when  the  feeling  for  quantity  dimmed,  pitch  accents  be- 
came gradually  converted  into  force  accents,  does  not 
concern  us  at  present,  for  we  must  suppose  that  quantity 
and  pitch  accent  are  in  full  force,  and  must  make  them 
live  in  our  imitation  of  Augustan  speech.1  It  will  be 

1  The  feeling  for  quantity  seems  to  have  gone  first,  while  the  consciousness  of 
the  accented  syllable  remained.  The  nature  of  the  accent  then  became  indifferent. 
Possibly  raised  pitch  and  increased  force  had  for  some  time  gone  regularly 
together,  and  as  their  combination  required  greater  exertion,  this  very  effort 
assisted  in  impairing  the  feeling  for  quantity.  The  modern  Greek,  the  modern 
Italian,  and  modern  Spaniard,  seem  not  to  know  the  meaning  of  fixed  quantity. 
In  their  languages  quantity  is  now  as  variable  as  pitch,  but  force  is  fixed  upon 
certain  syllables.  Corssen  (II.  942)  quotes  some  Latin  hexameters  of  the  latter 
part  of  the  third  century,  in  which  it  is  evident  that  all  feeling  for  quantity  had 
died  out.  In  my  paper  on  Accent  and  Quantity  (Philol.  Trans.  1873 — 4,  p.  153), 
I  have  compared  these  with  lines  of  Virgil  which  have  almost  the  same  rhythm 
of  force  accents  as  they  would  have  been  read  with  at  Eton  when  I  was  there 
(1830 — 3).  The  same  result  remains  if  we  use  the  Augustan  pronunciation, 
neglecting  distinctions  of  quantity,  but  preserving  the  place  of  the  force  accent. 
I  add  the  comparison  here,  representing  the  force  accent  by  a  turned  period  as 
usual,  and  omitting  all  marks  of  quantity  and  pitch  accent.  And  I  also  add 
some  English  lines  (of  about  the  same  calibre,  that  is,  nearly  "nonsense  verses,") 
but  of  precisely  the  same  rhythmical  construction,  which  may  facilitate  the  com- 
parison. The  hexameter  lines,  I.  to  V.  are  subdivided  because  the  force  rhythm 
is  thus  better  exhibited.  The  numbers  i,  2,  3,  refer  to  the  original,  the  English, 
and  the  Virgilian  lines  :  — 

I.   i.  Praefa'tio  nos'tra 

2.  Irra'tional  doc'trines, 

3.  Excu'tior  sonvno,  et 

— ^  i.  vi'am  erran'ti  demon 'strat, 

2.  held '-by  believers  as-per'fect, 
\^          ^M*                    3.  sum 'mi  fasti 'gia  lecti. — Ae.  2,  302. 

H *  II.   i.  Respectum'que  bo'num, 

^  2.  Are-but-arrant  foHies 

3.  Praesentem'que  vi'ris 

1.  cum-ve'nerit  sae'culi  me'ta, 

2.  to-those'-who-have  stud'ied-the  sub'ject. 

3.  inten'tant  om'nia  mor'tem. — Ae.  i,  91. 

III.  i.  Aeter'num  fi'eri, 

2.  Misfortune  teach 'es-us 

3.  Carpe'bant,  hy'ali 

1.  quod-discre'dunt  in'scia  cor'da. 

2.  that-the-best'-are  of'ten-in  error. 

3.  sat'uro  fuca'ta  colo'ri. — Geo.  4,  335. 


tc 


Art.  112,  113.]  LATE  LATIN.  85 

found  that  much  effect  is  often  given  by  a  force  accent 
on  a  syllable  with  depressed  pitch ;  and  at  least  as  much 
variety  can  be  produced  by  judicious  variations  of  force 
in  Latin,  as  we  give  in  English  by  judicious  variations  of 
pitch, 

X.  How  to  Read  Late  Latin. 

ART.  113. — A  question  arises  as  to  the  proper  method 
of  reading  late  Latin,  written  and  pronounced  by  the 
writers  without  attention  to  pitch  accent  or  to  quantity. 
The  answer  is  very  simple.  Only  one  pronunciation  can 
be  taught  in  schools,  and  that  should  be  the  best  imita- 
tion we  can  obtain  of  the  Augustan  Latin.  If  we  ad- 
mitted the  principle  of  using  the  pronunciation  of  the 
later  writers,  we  should  probably  have  to  learn  a  mul- 
titude of  different  pronunciations— at  least  one  for  each 
century,  and  one  for  each  native  country  of  the  writer. 

IV.  i.  E'go  simiHter 

2.  E'ven  nobil'ity 

3.  Qua'lis  popu'lea 

1.  erra'vi  tern 'pore  mul'to 

2.  of-heart '-and  sour-may-be  cheat 'ed. 

3.  mae'rens  philome'la  sub  um'bra. — Geo.  4,  511. 

V.   i.  Fa'na  prosequen'do, 

2.  Sense 'less  adora'tion 

3.  Hu'jus  odora'to 

1.  paren'tibus  in'sciis  ipsis. 

2.  of-all '-that-is  old'-is-the  keystone. 

3.  radi'ces  in'coque  Baccho. — Geo.  4,  279. 

It  is  evident  that  it  is  our  ratio  and  not  our  aures  which,  on  the  old  plan  of 
reading,  would  find  the  first  lines  of  these  triplets  full  of  false  quantities,  and  the 
third  lines  proper  hexameters.  But  read  them  by  the  rules  of  Augustan  pro- 
nunciation, and  Virgil's  lines  have  a  regular  appreciable  rhythm,  while  the 
others  become  a  mere  jumble.  It  is  evident  then  that  we  can  learn  nothing  of 
Augustan  usages  from  the  tertiary  strata  which  produced  the  above  hideous 
fossils.  In  the  words  of  the  accentual  hexameter  I,  "  viam  errant!  demonstrant," 
they  shew  the  way  ycu're  not  to  go  ! 


86  FINAL  METHOD  OF  READING.     [Art.  114,  115. 

ART.  114. — As  far  as  prose  is  concerned,  there  is 
evidently  no  objection  to  using  ab  near  an  approach  to 
Ciceronian  speech  as  we  can  compass.  As  regards  all 
literary  verse,  it  is  written  on  Augustan  models  down  to 
yesterday's  school  exercises  all  over  the  world,  and  cannot 
be  read  rhythmically  except  in  Augustan  pronunciation. 
It  may  indeed  not  be  possible  to  read  it  rhythmically  at 
all,  but  that  is  the  fault  of  the  author's  skill,  not  of  his  in- 
tention. On  the  other  hand,  medieval  hymns  (Art.  57) 
and  other  Latin  verses,  like  Father  Prout's 

Quam  pul'cra  sunt  o'va 
Cum  tosta  et  no'va 

E  stabtilo  sci'te  leguirtur, 
Et  a  Margery  bel'la, 
Quae  festi  'va  puel  'la  ! 

Pirrguis  lar'di  cum  frus'tris  coquun'tur, 

may  be  read  with  force  accents  only,  without  regard  to 
quantity  or  slurring,  and  with  English  final  m,  but  other- 
wise with  the  pronunciation  of  the  letters  here  assumed. 
It  is  only  in  merely  farcical  mixtures  of  English  and 
Latin,  or  some  other  modern  language  and  Latin,  that 
the  pronunciation  of  the  modern  language  has  to  be 
adopted,  but  with  these  we  have  really  nothing  to  do. 


XI.  Final  Method  of  Reading  Latin. 

ART.  115. — After  the  pupil  has  thus  acquired  the  full 
feeling  of  the  rhythmical  construction  of  any  passage  by 
learning  to  feel  the  length  and  musical  pitch  of  its 
syllables,  he  has  to  clothe  this  bare  skeleton  with  living 
flesh  and  make  it  talk  Augustan  sense  in  Augustan 


Art.  115-117.]     FINAL  METHOD  OF  READING.  87 

speech.  Of  course  a  perfect  comprehension  of  the 
passage  and  its  bearings  is  necessary  for  this  purpose, 
and  some  theory  must  be  formed  of  the  Augustan 
method  of  intonating  phrases  as  well  as  words,  and 
of  general  delivery  (actio,  pronuntiatio).  On  this  point 
there  is  much  to  read  in  Cicero  and  Quintilian  with 
which  a  teacher  should  become  familiar.  But  through 
all  varieties  of  tone  (omnes  sonorum  gradus,  M.  9)  the 
reader  must  bear  in  mind  relative  quantity  and  relative 
pitch  so  far  as  the  syllables  of  a  single  word  are  con- 
cerned. He  must  be,  as  an  Englishman,  particularly 
careful  not  to  raise  his  voice  on  the  last  syllables  of  ex- 
clamations and  questions  as  in :  e'ja  !  quid  sta'tis  ?  (D.  18, 
19)  which  he  will  be  very  apt  to  read  :  e'ja  !  quid  stasis  ? 

ART.  116. — It  is  recommended  that  short  pieces 
should  be  gradually  practised  perfectly.  The  younger 
pupils,  who  have  not  the  power  of  mind  or  experience  to 
originate  for  themselves,  should  follow  patterns  set  by  the 
teacher  (Art.  19),  and  committed  to  memory  by  the 
pupil.  So  far  as  verse  is  concerned,  a  power  of  repeating 
from  memory  the  examples  in  the  Appendix  will  be  of 
great  service.  I  have  found  that  by  constantly  repeating 
them,  either  mentally  or  aloud  (as  in  country  walks), 
with  the  best  methods  of  delivery  I  could  call  up,  I  have 
gained  more  knowledge  of  the  possible  life  of  Augustan 
poetry,  than  I  ever  possessed  during  my  school  days  at 
Shrewsbury  and  Eton,  or  my  college  days  at  Cambridge. 
And  I  have  thus  been  able  to  convert  dead  signs  into 
real  living  sounds,  such  as  may  have  moved  the  hearts 
and  thoughts  of  men  of  old. 

ART.  117. — The  prose  part  of  the  examples  is  deficient 
in  passages  of  varied  feeling  and  declamation ;  it  is 


88  FINAL  METHOD  OF  READING.     [Art.  117—119. 

almost  entirely  didactic.  My  wish  was  to  give  the  most 
important  words  of  the  most  important  writer  who  had 
treated  of  prose  rhythm,  and  to  shew  by  them  the  com- 
plete subservience  of  Augustan  prose  rhythm  to  quantity. 
But  the  reader  will  find  no  difficulty  in  turning  up 
passages  in  Cicero's  orations  or  Livy's  histories,  which 
involve  the  highest  declamatory  powers,  while  the  fami- 
liar letters  of  Cicero  may  be  read  as  actual  communi- 
cations with  his  friends,  and  his  "  Terentia  et  Tulliola 
duabus  animis  suls." 

ART.  118. — In  reading  the  paper  on  which  the  present 
tract  is  founded,  I  delivered  the  whole  of  the  following 
passages  in  the  most  varied  way  I  could  compass,  not,  as 
I  explained,  for  the  purpose  of  shewing  off  my  own 
powers  of  reading,  but  to  enable  the  classical  teachers 
then  present,  to  realise,  if  but  for  a  short  time,  my  notion 
of  the  nature  of  living  Augustan  Latin  in  its  various 
phases,  in  its  various  moods,  tones,  pitches,  qualities  of 
voice,  in  short,  to  bring  back,  so  far  as  I  could  conceive 
it,  the  old  ring  of  Augustan  speech,  and  to  shew  that  my 
rules  were  not  dead  pedantry,  but  a  living  breath.  I 
think,  therefore,  that  it  may  be  convenient  to  add  a  few 
remarks  on  the  way  in  which  I  endeavoured  to  read 
these  examples,  as  a  guide  to  the  teacher  who  wishes  to 
use  them  as  patterns  for  his  own  pupils. 

ART.  119. — And  first  I  would  observe,  that,  at  least  in 
my  day,  a  schoolboy's  repetitions  were  "  gabbled  ;"  that 
the  master's  sole  interest  seemed  to  be  that  the  boy  should 
shew  he  remembered  the  words,  without  any  regard  to 
sense  or  style  of  delivery  ;  a  falsely -placed  accent  (styled 
a  "  false  quantity  ")  might  be  observed  and  punished,  but 
nothing  else.  The  dreary  drone,  the  hesitation,  the 


Art.  119.]       FINAL  METHOD  OF-READING.  89 

repetition  of  words,  the  humming  and  hawing,  the  cast- 
down  eyes,  the  depressed  figure,  the  weary  tone,  are 
dismal  recollections  of  my  youth.  Now  we  do  not  want 
to  make  actors  or  orators  of  the  boys,  but  we  should 
make  them  read  decently,  intelligibly,  with  the  just  sound 
of  each  syllable  both  in  length  and  pitch,  and  if  possible, 
with  an  indication  of  the  characteristic  quality  of  tone 
by  which  joy  and  grief,  rage  and  joke,  argument  and 
feeling,  are  distinguished.  More  has  to  be  done  for 
"speech  days "  of  course,  but  I  am  talking  of  ordinary 
repetition,  which  should  be  made  a  lesson  in  distinct 
utterance,  and  for  that  purpose  the  speaker  should  be 
placed  as  far  off  as  possible  from  the  master, — not  close 
to  him,  as  so  often  happens  when  a  boy  is  "  called  up," 
a  custom  partly  due  to  our  inherited  habit  of  hearing 
many  classes  at  once  in  one  large  hall,  instead  of  in 
separate  rooms,  —  so  that  the  master  can  carry  out 
Quintilian's  recommendations  : — 

Imprimis  vitia  si  qua  sunt  oris  [of  pronunciation]  emendet,  ut 
expressa  sint  verba,  ut  suis  quaeque  litterae  sonis  enuntientur.  Ciira- 
bit  etiam,  ne  extremae  syllabae  intercidant ;  ut  par  sibi  sermo  sit ; 
ut  recta  sit  facies  dlcentis,  ne  labra  distorqueantur,  ne  immodicus 
hiatus  rictum  discindat,  ne  suplnus  vultus,  ne  deject!  in  terram  oculi, 
inclmata  utrolibet  cervix.  Nam  frons  pluribus  generibus  peccat. 
Vidi  multSs,  quorum  supercilia  ad  singulos  vocis  conatus  allevaren- 
tur,  aliSrum  constricta,  aliorum  etiam  dissidentia,  cum  alterum  in 
verticem  tenderent,  altero  paene  oculus  ipse  premeretur  (i,  n,  4.  8. 
9— ii). 

Boys  we  see  have  not  much  changed  since  Quintilian's 
time.  I  have  myself  seen  in  English  schools  every  fault 
he  mentions,  and  no  doubt  every  classical  teacher  will 
recognise  the  picture.  But  he  should  do  more.  He 
should  paint  it  out. 


9°  POETICAL  EXAMPLES.        [Art.  120,  121. 

XII.  How  to  Read  the  Poetical  Examples  in 
the  Appendix. 

ART.  120. — Bring  out  the  character  of  each  foot  and 
each  line  distinctly,  but  gently,  with  a  slight  flexion  of 
voice,  never  degenerating  into  a  regular  chant,  and  never 
interfering  with  the  sense.  Study  a  few  lines  at  a  time, 
and  repeat  them  till  you  are  quite  perfect.  This  is  es- 
sential at  first,  as  otherwise  bad  habits  will  be  acquired 
which  can  scarcely  be  thrown  off.  The  grand  sonorous 
swing  of  the  Virgilian  hexameter,  the  prettiness  of  the 
Ovidian  elegiac,  the  playfulness  or  intenseness  of  the 
Horatian  lyrics,  the  colloquiality  of  the  satirical  hexa- 
meter and  iambics,  must  all  be  characterised,  and  all  be 
well  distinguished  from  prose  by  their  unmistakable 
"pede  certo." 

ART.  121.  Example  A. — The  two  first  lines  are  prose 
in  sense  and  verse  in  form.  They  must  be  spoken 
rhythmically,  but  levelly,  quietly,  very  distinctly,  and 
without  the  least  haste,  as  an  evident  prologue  to  what 
follows.  In  (i)  conticuereomnes,  the  con-  must  be  dis- 
tinctly long,  the  pitch  of  the  voice  must  be  kept  low  till 
e  and  then  allowed  to  rise  and  fall  again.  Two  English 
faults  must  here  be  guarded  against ;  no  sound  of  /,  or 
indistinct  English  u  should  follow  e,  or  be  inserted 
before  r,  which  should  come  clearly  down  upon  e  in  re 
continuing  the  descent  of  the  voice,  but  the  syllable  re 
is  held  for  a  very  short  time,  and  the  pitch  rises  at  once 
for  6m.  The  nes  should  be  full,  clear,  low,  and  strong, 
and  there  should  be  no  degradation  of  s  into  z.  The 


Art.  121.]  POETICAL  EXAMPLES.  91 

following  molossus  intenti  must  have  the  two  first  syl- 
lables kept  at  a  low  pitch,  so  that  the  line  is  made  very 
quiet  by  the  three  long  low  syllables  nes  inten.  Observe 
that  the  pitch  rises  and  falls  on  the  last  syllable  ti  of  the 
spondee,  and  in  the  syllable  qued,  it  has  first  a  low,  then 
a  high,  and  finally  a  low  pitch. 

The  rhythm  of  (2)  is  brought  out  by  dividing :  inde- 
toro  pateraene'as  sic  orsusabalto.  Be  particular  in  the 
opening  choriamb,  giving  full  length  to  the  first  and  last 
syllables.  Run  the  pater  shortly  and  clearly  on  the 
aene'as,  and  be  very  careful  in  keeping  pa  short  and  ae 
long.  We  are  so  accustomed  to  talk  of  pe'tzririi'ds 
(where  9  indicates  our  peculiar  vowel  in  final  -er\  that 
much  practice  is  necessary  to  overcome  the  difficulty. 
Mind  that  sic  is  English  seek,  not  English  sick. 

Lines  (3 — 13)  are  an  excuse.  /Aeneas  is  full  of  painful 
reminiscences.)  He  begins  slowly,  in  a  dull  voice :  in- 
fandurregl'na ;  mind  the  opening  long  in,  and  the  as- 
similated m.  This  double  rr  is  a  difficulty  to  be  much 
practised.  Mind  the  long  re;  there  is  a  great  tendency 
to  shorten  it.  In  (4)  mind  the  molossus  trojd'nas,  and 
the  anapest  utopes^  and  then  the  three  long  low  syllables 
et  lamen  with  the  mournful  rise  on  to!  (be  sure  not  to 
say  lam  or  tab).  The  choriamb  and  anapest  which  open 
(5):  enierint  danai,  will  occasion  difficulty;  they  must 
be  quite  mournful,  with  the  long  e  well  brought  out ;  the 
voice  rises  for  an  instant,  on  ru  da,  and  the  main  expres- 
sion is  obtained  by  sinking  the  voice  on  the  final  long  J. 
The  opening  mournfulness  continues  to  this  point. 
Then,  Aeneas  thinks  of  himself  and  his  voice  becomes 
firmer.  In  the  end  of  (5),  ipse  and  miserrima  have  to 
be  especially  marked,  the  last  most ;  in  (6)  mdgna  is  the 


92  POETICAL  EXAMPLES.  [Art.  121. 

chief  word,  but  be  careful  with  the  assimilated  m,  the 
trilled  r,  and  the  hard  s  in  :  quc'ruppars.  In  ful  the 
quantitative  iamb  must  be  well  brought  out  without  any 
tendency  to  a  force-spondee,  and  the  I  made  long  and 
low,  without  particular  force. 

In  (6  —  8)  another  chord  is  struck.  The  tale  of  woe 
is  so  sad  that  even  Myrmidons  and  Dolopes,  and  harsh 
Ulysses'  men  would  weep  over  it.  Bring  out  the  re- 
ference to  these  points,  and  especially  emphasise  dun 
(7).  Line  (8)  begins  with  a  dactyle  and  choriamb,  it  is 
much  like  (4),  the  voice  sinks  on  the  mis  of  Mcrymis, 
not  rises,  although  interrogative.  The  a  must  be  kept 
long  and  low,  without  any  force. 

Lines  8  and  9  merely  continue  the  excuses  for  not 
telling  the  story  which  is  forthwith  continued  through 
two  books  of  the  Aeneid.  The  tone  implies — "and 
you  see  that  it's  so  late  to-night,  there  will  not  be  time." 
Care  must  be  taken  with  jdnnbx,  with  the  long  prae  in 
praecipitat,  and  the  pure  /  in  cadentia. 

In  (10,  n)  we  have  a  broken  sentence,  the  verb  is 
missing.  Begin  with  sed,  si,  as  quite  distinct  syllables, 
bringing  out  the  initial  spondee ;  tdntus  is  the  chief 
word  j  in  (n)  breviter  (with  careful  er  in  erring  not  zr, 
and  well  trilled  r\  must  have  a  little  force.  Take 
breath  after  trojae  to  allow  of  uniting  sup-re 'muaudire- 
labo're,  with  a  little  emphasis  on  supre'mu.  Observe 
that  the  slurred  vowels  uau  are  all  in  low  pitch.  In  (12) 
bring  out  the  hbrret,  making  its  second  syllable,  as  well 
as  the  following  luctu,  very  long,  and  lead  up  to  refugit. 
Take  breath  after  animus,  and  horret.  Make  a  little 
pause  after  refugit,  and  speak  the  incipid,  with  the  tone 
of  a  victim  to  circumstances,  making  n  in  in  very  long,  d 


Art.  121.]  POETICAL  EXAMPLES.  93 

clearly  high  pitched  but  short,  and  the  a  rather  indif- 
ferent. Then  pause. 

Begin  the  narrative  (13)  in  a  quiet  and  altered  tone. 
Aeneas  has  now  made  up  his  mind  to  unbosom,  and 
does  so  without  stint.  The  two  first  lines  (13,  14)  are 
very  quiet  therefore,  but  observe  ffrdctl  to  compensate 
for  omitted  m,  and  oppose  distinctly,  but  very  quietly 
the  two  sentiments,  ffrdctlbello  (keeping  I  and  o  quite 
long)  and  fatl'sqiierepulsl  (fa  and  tls  both  quite  long). 
In  (15)  bring  out  mbntis,  but  let  equu  be  quiet,  while  the 
three  last  words  ddlvi'na  pdlladis  drte  (with  dd)  are 
parenthetical,  and  spoken  with  a  tone  implying  that  the 
Greeks  could  not  have  done  it  without  such  assistance. 
In  (16)  keep  the  first  ae  quite  long,  and  observe  dbjete 
for  abiete,  the  position  of  high  pitch  being  changed  with 
the  change  of  ie  into  je  for  the  sake  of  the  verse,  com- 
pare Quintilian  on  voluc-res  in  Art.  24,  note. 

Line  (17)  is  also  parenthetical.  The  first  clause  is 
spoken  with  a  kind  of  contempt  for  the  trap  into  which 
the  Trojans  fell.  The  eafama  vagatur,  is  a  mere  obiter 
dictum,  and,  though  important  to  the  subsequent  narra- 
tive, must  be  passed  over  lightly. 

Lines  (18 — 20)  are  simple  narrative.  Observe  viru, 
and  guard  against  English  vir-,  also  ss  in  ssorti'tl  to 
compensate  for  omitted  m.  Be  careful  with  the  molossi, 
includunt  (19),  and  ingentes  (20). 

In  (21)  a  completely  new  subject  is  taken  up.  The 
first  words  are  as  quiet  as  a  guide  book,  and  the  diffi- 
culty consists  in  giving  the  many  spondees  their  full 
length,  when  they  convey  so  little  matter.  But  just  for 
that  reason  I  consider  this  line  to  be  one  of  the  most 
useful  quantitative  exercises  here  given,  and  it  should 


94  POETICAL  EXAMPLES.  [Art.  121,  122. 

be  well  studied.  The  short  te  with  high  pitch  is  very 
trying,  because  it  begins  a  significant  word,  and  the 
chief  importance  must  be  given  to  its  final  low-pitched 
but  long  syllable  dos,  with  short  vowel.  In  (22)  mind 
divesbpu,  and  the  following  parenthesis,  which  must  be 
spoken  with  a  special  reference  to  ancient  splendor, 
and  thus  contrasted  with  (23)  which  shews  the  mournful 
results  of  its  wreck.  Pause  after  nuric,  make  tdntum 
important,  and  sinus  short  and  distinct,  without  separa- 
tion, tdntussinus,  except  by  the  raised  pitch.  The  long 
o  in  stdtio  gives  this  word  its  chief  force. 

Lines  (24)  and  (25)  require  no  notice  beyond  what  they 
have  already  received  (Arts.  47,  49,  58*:,  60.)  They  join 
on  the  description  of  Tenedos  to  the  following  narrative. 

ART.  122.  Example  B. — Although  these  are  consecu- 
tive lines  in  the  original  they  belong  to  two  distinct 
subjects,  and  have  been  introduced  especially  for  the 
sake  of  (2).  Anchises  has  been  passing  in  review  a 
large  number  of  the  future  heroes  of  Rome,  and  had 
been  asking  how  he  could  omit  naming  this  one  and 
that,  when  he  sees  the  Fabii,  and  asks  how  far  they 
would  lead  him  in  his  weariness,  so  that  he  merely 
notices  Fabius  Maximus  Cunctator.  In  reading,  observe 
the  fessurrdpitis,  the  low  pitch  on  i  in  fabil,  (where  we 
English  use  a  high  pitch,)  the  emphasis  on  tfi,  the  treat- 
ment of  Maximus  as  a  name,  as  there  had  been  several 
of  that  name,  but  he  was  the  only  one,  unus  (keep  the 
us  long)  who  by  such  an  act  as  cunctdndo  (which  should 
be  very  significantly  spoken  as  quite  contrary  to  Roman 
elan)  would  save  the  state  (re).  The  qulno'bls  should  be 
long  and  even,  as  the  voice  must  be  prepared  for  the 
cunctdndo,  before  which  it  is  best  to  take  breath.  The 


Art.  122.]  POETICAL  EXAMPLES.  95 

two  last  words  form  the  difficulty.  The  rhythm  has 
been  already  alluded  to  in  Art.  50.  The  res  must  be 
quite  long,  and  low,  but  strong ;  the  sti  high  and  short, 
descending  rapidly  to  the  es,  when,  the  voice  unexpectedly 
and  unusually  rises  in  re,  only  to  fall  again  in  the  same 
syllable. 

The  last  seven  lines  are  a  kind  of  Roman  anticipation 
of  "  Rule  Britannia  !  "  They  must  have  been  repeated 
over  and  over  again  with  extreme  unction1  by  warlike 
political  Romans,  who  despised  the  versatile  scientific 
Greek.  They  contain  the  glorification  of  a  system  of 
repression,  conquest  and  government,  as  opposed  to  all 
that  was  lofty  in  art  and  science,  and  they  must  be 
spoken  as  if  the  speaker  fully  entered  into  the  sentiment. 
The  dlil  are  of  course  the  Greeks,  whom  Anchlses  does 
not  even  deign  to  name.  This  word  dlil  must  have  a 
chief  emphasis,  which  can  be  principally  produced  by 
lengthening  and  reinforcing  the  final  /,  and  as  this  is 
quite  opposed  to  our  English  e'liai^  it  will  require  care. 
The  opposition  to  dlil  is  ///,  which  must  be  brought  out 
with  great  emphasis,  and  breath  should  be  taken  after 
it.  The  other  important  words  are  Me  and  dries  in  (8). 
The  tone  of  the  first  lines  is  given  by  the  credoequide  (4) ; 
— "of  course,  who  disputes  it?  but  what  matter?  be  it 
so.  they  are  smarter  and  'cuter,  but — we  can  thrash 
'em  ! "  Hence  lines  (3)  to  (6)  have  to  be  spoken  in  a 
sort  of  depreciatory  high  and  hollow  tone.  At  the  same 
time  great  care  must  be  taken  with  the  opening  molossl, 
(excu'dent,  ora'bunt,  descrl'bent).  In  beginning  (7)  the 
tone  of  voice  changes,  and  becomes  round,  solemn  and 
assertive ;  tu — "  this  is  what  you  have  to;"  (take  breath 

1  In  anything  but  the  Roman  Catholic  sense  of  the  words. 


96  POETICAL  EXAMPLES.  [Art.  122. 

here,)  regereimp'erio  pbpulos.  The  high-pitched  syllables 
are  all  short,  the  whole  force  of  the  sentence  depends 
on  the  length  and  delivery  of  the  three  long  syllables 
im,  o,  os.  The  last  words  of  the  line  are  light,  because 
they  are  so  obvious  that  the  listener  supplies  them  at 
once,  though  they  are  still  solemn,  as  befits  an  injunction. 
Fancy  how  a  whole  forum  of  Romans  would  rise  at  the 
words,  and  speak  them  with  their  feeling.  Then  comes, 
"  these  are  to  be  your  arts,"  in  English  the  "your"  would 
be  emphasised,  and  considerable  meaning  would  be 
thrown  into  the  long  but  un emphatic  arts.  In  Latin  the 
dissyllable  dries  supplies  the  place  of  both  English  syl- 
lables. The  strong  tu  in  the  preceding  line,  renders  tibi 
weak,  and  allows  it  to  be  slurred  on  to  erunt,  so  that  the 
whole  force  falls  on  dries, — "  these  are  your  substitutes 
for  the  arts,  you  are  governors,  men  (viri)  not  mechanics 
(homines)."  Then  the  idea  is  further  developed,  and 
the  three  special  arts  alluded  to  are  described  :  to  im- 
pose your  own  laws  upon  others,  to  spare  (we  know  hovf 
Romans  spared)  those  that  submit,  and — to  put  your 
heel  on  those  who  resist.  This  is  the  spirit  to  be  in- 
fused into  the  utterance.  The  effect  is  obtained  by  the 
pronunciation  of  impo'nere,  with  very  long  im,  and 
steady,  decided,  unhurried,  but  very  emphatic  po'nere; 
by  making  pdrcere  quiet,  but  with  a  kind  of  tone,  im- 
plying,— "  oh  yes  !  of  course,  we  spare  them," — and 
throwing  the  chief  force  on  subjectls,  where  sub  must  be 
long,  and  the  rise  and  fall  of  pitch  with  the  length  of 
the  Us  be  so  managed  as  to  give  the  feeling — "yes,  if 
they  give  up  everything  and  surrender  unconditionally ; " 
and  then,  gathering  strength  on  the  three  following  long 
and  low  syllables  etdebel,  rise  with  a  kind  of  quiet  exulta- 


Art.  122,  123.]       POETICAL  EXAMPLES.  97 

tion  on  la  and  finish  by  bringing  out  the  per  in  superbos 
with  a  savage  emphasis  which  shews  that  every  one  who 
ventures  to  oppose  Rome  has  a  proud  spirit  which  must 
and  shall  be  humbled. 

It  is  very  difficult  to  describe  these  points  in  language 
at  all,  and  hence  the  schoolboy  slang  which  I  have  used 
must  be  forgiven.  The  reader  must  endeavour  to  realise 
them  by  repeating  these  wonderful  lines  till  they  are 
perfectly  familiar  to  him,  and  he  will  have  then  learned 
more  of  Latin  pitch-accent  and  quantity,  with  freedom 
of  force,  and  the  great  variety  of  oratorical  power  which 
this  allows,  than  by  any  other  means  that  I  know. 

ART.  123.  Example  C. — The  story  of  these  lines  is 
well  known.  M.  Claudius  C.  f.  C.  n.  Marcellus,  the 
hope  of  Augustus  and  the  Romans  had  died  (B.C.  23) 
the  year  before  they  were  written,  in  his  twentieth  year. 
All  Rome  had  flocked  to  his  funeral,  and  Augustus 
himself  had  pronounced  the  funeral  oration. 

Aeneas  sees  the  shade  of  this  youth  accompanying 
the  great  M.  Claudius  M.  f.  M.  n.  Marcellus  (B.C.  268 — 
208)  :-— 

Atque  hie  Aeneas,  una  namque  ire  videbat 
egregium  forma  juvenem  et  fulgentibus  armis, 
sed  frons  laeta  parum,  et  dejecto  lumina  vultu  : 
Quis,  pater,  ille  virum  qui  sic  comitatur  euntem  ? 
Filius,  anne  aliquis  magna  de  stirpe  nepotum  ? 
QuT  strepitus  circa  comitutn  !  quantum  instar  in  ipso  ! 
Sed  nox  atra  caput  tristi  circumvolat  umbra, 
turn  pater  Anchises,  lacrymis  ingressus  obortis  : — 

and  answers  in  the  words  of  (C.). 

These  lines,  recited  by  Virgil  himself  to  Augustus  and 
his  sister  Octavia,  the  mother  of  Marcellus,  must  have 

H 


98  POETICAL  EXAMPLES.  [Art  123. 

been,  in  the  poet's  eyes,  the  best  that  he  could  make, 
and  are  therefore  extremely  well  adapted  for  an  exercise 
in  Latin  rhythm.  It  so  happens  also  that  they  exem- 
plify the  treatment  of  the  final  m  in  a  most  remarkable 
manner,  and  have  been  re -written  for  that  purpose  in 
Art.  97.  Only  a  few  hints  need  be  added. 

Line  (i)  is  mere  sadness.  Line  (2)  depends  for  its 
force  on  ostendent  and  tdntum,  and  its  great  accumulation 
of  spondees.  Lines  (3)  and  (4)  are  a  passionate  appeal 
to  the  gods,  and  at  the  same  time  an  outrageous  flattery 
of  the  Romans.  The  chief  words  are  nimium  (3)  and 
hake  (4).  Lines  (5)  to  (7)  are  reminiscences  of  the 
mighty  pageant  of  the  funeral,  the  chief  words  are  qudn- 
tos,  virum,  qudZ,  and  the  melancholy  recentem,  which, 
scarcely  in  character  where  it  stands,  spoke  volumes  to 
Augustus  and  Octavia.  Then  comes  a  more  cheerful, 
though  regretful  view  of  Marcellus's  prowess.  Take 
care  of  lliaca,  on  account  of  the  fearful  English  ilai'acd. 
The  quisquaddegente,  intdntusspe,  ullo  are  the  important 
points.  Then  comes  the  exclamation  of  regret  for  losing 
one  that  shewed  such  eminent  filial  affection  (pietas), 
bringing  back  the  days  of  "  old  faith,"  (just  as  the 
German  prides  himself  on  alte  deutsche  Treue^)  and  then 
such  wonderful  success  in  war  as  his  youthful  feats  would 
lead  one  to  hope.  It  is  on  the  last  of  course  that  most 
stress  is  laid.  Observe  \h&\.  pietas  and  fides  will  acquire 
their  chief  effect  from  their  final  long  syllables  with  a 
low  pitch,  the  descent  of  the  voice  allowing  of  great  ex- 
pression of  regret,  and  the  long  quantities  of  the  vowels 
giving  abundant  opportunity  of  developing  it.  Observe 
especially  invictdque  ( 1 1)  with  the  high  pitch  transferred 
to  the  short  vowel  d  to  mark  the  enclitic  addition.  The 


Art.  123,  124.]       POETICAL  EXAMPLES.  99 

contrast  in  (13,  14)  is  between  pedes  and  eqid,  but  after 
armd'to  the  two  lines  may  be  spoken  rapidly. 

The  next  line  (15)  begins  with  quite  a  new  strain,  as 
mournful  and  tender  as  possible.  Miserdnde,  must  be 
well  brought  out,  and  the  two  first  syllables  must  not  be 
those  in  the  English  miserable,  but  clear  mi-se-.  Ptier 
may  occasion  some  difficulty,  but  great  tenderness  can 
be  conveyed  by  the  fall  of  the  voice,  and  the  lengthened 
second  syllable.  In  qua  the  greatest  stress  is  reached, 
the  following  fdtadspera  rumpas,  are  tearful,  broken 
voiced,  but  quiet.  Then  in  (16)  we  have  the  soft  pene- 
trating tu  marcellus  en's,  on  hearing  which  Octavia 
fainted,  so  that  probably  Virgil  never  finished  his  reci- 
tation. But  I  recommend  the  whole  of  the  rest  of  the 
speech  to  be  finished  in  a  low,  weak,  rather  hurried, 
mournful  tone,  till  it  dies  off  at  mu'nere.  The  assimilated 
m  in  (17)  and  the  slur  in  (18)  must  be  carefully  studied 
and  steadily  attacked,  and  the  final  I  in  ina'm  must  have 
its  full  effect,  for  though  the  tone  is  that  of  a  man  who 
has  lost  all  heart,  yet  as  the  reader  is  a  totally  different 
person,  he  must  be  particularly  careful  not  to  make  the 
speech  ridiculous  by  ludicrous  errors  of  pronunciation. 

ART.  124.  Example  D.— In  (D.)  the  whole  character 
of  the  verse  is  changed.  We  have  still  hexameters  cer- 
tainly, but  they  have  no  roll,  they  are  verses  of  society, 
charming  by  the  way  in  which  they  set  colloquialisms  to 
metre.  The  present  passage  has  been  selected  for  its 
variety  in  a  short  space,  and  the  great  numbers  of 
spondees  it  contains. 

Begin  with  a  quiet  interrogative  tone, "pausing  in  (i)  at 
fit,  maccetnas,  a.nd  nemo,  emphasising  qudssibi  distinctly, 
and  in  (2)  bringing  out  the  two  seu  and  contrasting  the 

H  2 


ioo  POETICAL  EXAMPLES.  [Art.  124. 

ratio  and  fors  (beware  of  final  z).  The  ratio  and  dederit 
will  derive  their  chief  force  from  their  long  final  syllables. 
After  obje'cerit  pause  again,  and  then  take  ilia,  making 
the  double  /  quite  distinct,  and  the  a  long  with  the 
descending  pitch.  All  three  lines  are  to  be  spoken  in 
a  tone  of  amused  argumentative  puzzlement. 

In  (4)  the  old  soldier  speaks,  and  the  words  must  be 
in  a  tone  of  longing  envy,  to  which  the  words  of  four 
long  syllables,  with  a  final  low  pitch,  and  very  long 
vowels,  add  great  force.  At  grdvis  dnnls  change  the  tone 
to  Horace's,  who  says,  "  there  you  see,  this  is  why  he 
says  it."  The  grdvis  must  be  short  (beware  of  English 
gre'vts),  and  the  double  n  and  long  I  of  dnnls  must 
make  a  strong  contrast  (beware  of  reducing  the  word  to 
English  anise).  In  (6)  the  words  introduce  the  mer- 
chant, with  a  parenthetical  explanation  of  his  opinion, — 
"you  know,  his  ships  were  in  a  storm  at  the  time," — 
which  shews  how  to  bring  out  the  na'vljac-,  all  the  syllables 
quite  long.  In  (7,  8)  we  have  the  merchant's  speech. 
Beware  of  calling  militia  like  the  English  milislw.  The 
quidenl  for  quid  enim,  had  possibly  only  one  syllable  with 
raised  pitch.  Many  instances  of  enim,  quidem,  autem, 
seem  to  me  to  come  under  Quintilian's  rule  of  junctura. 
But  begin  ccon-  with  energetic  c.  In  (8)  we  have  the 
difficulty  of  two'  long  syllables  being  slurred  momenta  aut, 
and  there  must  be  a  pause  between  them,  see  Art.  58,  c. 
For  such  verses  the  ear  will  sufficiently  recognise  the 
intention  even  if  neither  of  them  is  much  shortened. 
Be  very  particular  with  the  pyrrhics  dta,  v'enit,  in  (8). 

In  (9)  mind  the  ag-  to  lengthen  the  first  syllable,  and 
the  two  assimilated  m.  In  (10),  the  subgdlll  cdntu  must 
be  spoken  with  a  tone  which  shews  that  it  was  only  the 


Art.  124.]  POETICAL  EXAMPLES.  101 

unconscionably  early  hour  of  rousing  which  could  have 
led  the  lawyer  to  such  an  opinion.  The  slur  in  .consul- 
toriibibstia  pulsat  will  require  some  practice  to  execute 
neatly.  Say  bs-ti-a,  not  bstja.  In  (is)  bring  out  the  Hie 
(with  distinct  double  /)  as  referring  to  the  consultor  who 
is  an  agricola.  The  ddtis  vddibus,  being  so  different  from 
the  common  English  de'tis  ve'dibds,  wild  require  care  to 
preserve  the  high  initial  pitch  and  the  final  long  syllables. 
In  (12)  much  effect  can  be  produced  by  the  wondering 
longing  tone  of  the  farmer's  first  three  words. 

Then  in  (13)  everything  is  changed.  Tiae  tone  be- 
comes quick  and  petulant,  the  parenthetical  ddeo  sunt 
midta,)  shews  that  Horace  is  tired  of  enumerating  cases 
which  would  tire  even  gossipping  Fabius.  The  long  e  in 
ddeo  allows  of  much  effect  in  the  tone.  In  (14),  ne 
te'mbrer  is  quick,  and  the  last  word  very  rapid.  Observe 
the  m's  in  quo  reddedu'ca  in  (15),  and  particularly  the  en 
ego  as  distinct  from  our  common  English  en  t'go'.  In 
(16)  the  assimilated  m  is  important,  jdffdciacquid  volt  is. 
All  this  speech  of  the  god  (15  to  19)  should  be  read  in 
a  quiet  ordering  tone,  but  very  carefully  as  to  quantities. 
Line  (17)  requires  great  care,  as  well  as  mutatis  in  (18). 
For  eja  !  statist  (19),  see  Art.  115.  The  no' lint  (19) 
belongs  to  Horace,  with  an  amused  tone  implying,  "  they 
wouldn't,  I  told  you  so."  Then  comes  the  remark  on 
their  refusing  happiness  when  in  their  power. 

The  last  three  lines  are  in  an  indignantly  con- 
temptuous, though  still  almost  conversational  tone.  The 
m'erito  is  the  chief  word,  and  owes  its  weight  to  the 
final  long  syllable.  Take  breath  after  jupiter.  The 
whole  three  lines  are  in  close  connection  and  in  one 
characteristic  quality  of  tone. 


fo2  POETICAL  EXAMPLES.  [Art.  125. 

ART.  125.  Example  E. — We  now  come  to  a  totally 
different  style  of  poetry.  In  lyrics  the  metrical  rhythm 
must  be  always  well  brought  out,  but  in  general  with 
very  little  chant.  The  (K,  F.,  I.,  K.)  have  totally  dif- 
ferent characters,  and  the  chant  belongs  to  (I.)  only. 
Each  ode  of  Horace  indeed  requires  a  distinct  study. 
(E.,  F!)  are  given  for  the  sake  of  the  choriambs.  In 
(E.)  there  are  two  in  each  line,  and  the  first  ends  a  word, 
but  there  is  a  spondee  at  the  beginning  connected  with 
the  first,  which  must  be  well  brought  out,  and  an  iamb 
or  pyrrhic  at  the  end  connected  with  the  last,  so  that 
there  is  in  many  lines  a  false  appearance  of  ending 
with  two  dactyles.  Many  lines  are  read  by  English  boys 
.  as  if  they  had  three  final  dactyles,  thus  : — 

misi  'lias  at  "avis  ed  'iti  redj  'ibas, 

using  dj  for  English  j.  All  that  is  absolutely  absurd. 
To  bring  out  the  choriambs  nicely,  the  last  long  syllable 
of  the  second  should  be  slightly  lengthened,  and  the 
voice  should  grow  weaker  for  an  instant  before  proceed- 
ing to  the  next  syllable,  but  care  should  be  taken  not 
absolutely  to  divide  the  last  word  into  two.  This  may  be 
indicated  by  a  hyphen  before  the  |  which  separates  the 
feet ;  thus  : — 

maece'-  |  nas  atavis  |  e'dite  re'-  |  gibus. 

Line  (2)  will  require  considerable  care  to  bring  out 
the  slur  properly,  and  so  will  (7).  There  must  be  a 
slight  pause  after  the  second  et  in  (2)  and  this  gives  an 
opportunity  for  a  slight  "  gush  "  on  dulce. 

In  (3)  put  an  emphasis  on  quos, — '-''some  like  to  do 
this,"  together  with  many  other  things  in  the  lines  omitted, 


Art.  125.]  POETICAL  EXAMPLES.  103 

— as  opposed  to  the  me  of  lines  (7)  and  (8).  Be  careful 
to  indicate  the  raised  pitch  in  metdque  (^},  palmdque  (5), 
see  p.  29,  note  i.  In  (6),  the  contrast  of  terra'ruddbminos 
and  deos  led  me  accidentally,  when  I  was  reading  the 
lines  out,  to  raise  my  pitch  on  the  last  syllable  of  deos, 
and,  though  I  immediately  corrected  the  error,  I  mention 
it  to  shew  the  difficulty  of  overcoming  national  habits. 
It  would  be  equally  wrong  to  raise  the  pitch  of  the  voice 
on  ad)  and  that  creates  the  difficulty.  Read  : — 

terra'  |  ruddominos  |  e'vehit  ad-  |  de5s 

and  mark  the  contrast  between  the  two  first  words  and 
the  last  by  the  quality  of  tone  used  for  the  final  long 
os  in  deos. 

In  (7)  be  careful  of  /  in  frdn-  |  tium,  and  in  (8)  and 
(9)  mind  the  three  assimilated  m's.  In  (10)  be  careful 
of  tl'bias,  which  as  an  English  word  we  call  tib'tiz.  Also 
remember  the  initial  spondee,  and  the  assimilated  m  in 
(12),  producing  the  slight  lengthening  just  mentioned, 
and  the  double  r,  as  lesbo'-  |  urrefugit  |  . 

Great  effect  can  be  given  to  the  two  last  lines,  which 
close  the  dedication.  The  sentiment  is,  "  I  am  satisfied 
with  all  this,  and  have  no  such  desires  of  athletic 
honours,  or  political  office,  or  wealth  or  hunting  &c.  as 
I  have  mentioned;  but — if  only — you — will  place  me 
among — lyric — poets,  I  shall  be  as  proud  as  a  god." 
Make  short  pauses  after  quod — si — me — come  with  a 
joyous  "gush"  upon  ly'ritis,  lengthening  out  the  last 
syllable,  and  getting  immense  expression  out  of  the  fall 
of  pitch  from  the  short  high  pitch  of  the  first  syllable. 
In  (14)  sub-ll-  |  ml  there  must  be  a  slight  echo  of  the 
commencement  of  the  preceding  line.  Then  fe'rias-  | 


104  POETICAL  EXAMPLES.      [Art.  125,  126. 

si'dera  ver-  |  tice,  first  falls  down  quickly  to  a  slight 
pause  without  separation,  (of  the  kind  already  mentioned) 
and  the  voice  rises  again  to  a  magnificent  sl'dera,  the 
last  word  being  comparatively  unimportant. 

ART.  126.  Example  F. — Here  there  are  three  cho- 
riambs, the  first  and  last  are  treated  as  in  E.,  the  middle 
one  is  always  quite  distinct,  as,  scirenefas,  Leuconoe, 
utme'lius ;  seutribuit,  debilitat,  vinaliques,  diilldquimur, 
quamminimu,  and  are  seen  to  be  much  varied  in  pitch- 
accent. 

Suppose  Horace  to  be  sitting  one  winter's  night  before 
his  table  with  a  bowl  of  Falernian,  while  on  the  other 
side  pretty  Leuconoe  is  "  telling  fortunes  "  with  "  Babylo- 
nian numbers"  and  other  contrivances.  Horace  looks 
at  her  amused  for  some  time,  and  then  bursts  out  with, 
"  Don't  look  how  long  we've  to  live,  Leuconoe,  it's 
not  right !  and  don't  try  your  Babylonian  contrivances. 
How  much  better  it  is  to  endure  whatever  happens  (with 
stoic  dignity),  whether  we  are  to  live  long  or  die  now. 
Be  wise  my  girl,  and  drink,  (like  an  epicuri  de  grege 
porcus  !)  and  for  the  short  present  renounce  the  long 
future.  Don't  you  see,  time  is  flying  while  we  speak; 
make  use  of  now  and  a  fig  for  then!"  This,  in  pur- 
posely unpoetical  language,  seems  the  gist  of  the  original. 
On  this  view  lines  (i)  to  (3)  are  a  kind  of  paternal 
rebuke,  in  a  pleasant  tone  of  voice,  however,  half 
coaxing.  But  when  the  stoic  comes  out,  the  voice  and 
manner  change  almost  to  that  of  (K.),  the  utmelius, 
quicquid  erit,  and  especially  the  pdtl  (where  the  descent 
of  tone  and  final  long  syllable  are  capable  of  great 
effect)*  must  be  strongly  brought  out.  The  next  two 
lines  to  the  beginning  of  (6),  and  especially  all  (5),  which 


Art.  126-128.]        POETICAL  EXAMPLES.  105 

is  wonderfully,  of  course  purposely,  monotonous,  may  be 
rapid,  but  take  breath  after  metre,  in  order  to  run  on 
quickly  from  tyrrhenum  on  to  a  loud,  bold,  commanding 
and  yet  jovial  sdpias,  with  an  assimilated  ;;z,  as  tyrrhe'-  | 
nussapias  |  ,  then  the  vinaliques  is  quite  in  the  jolly 
manner,  which  is  continued  in  the  following  words, 
where  brevl  must  be  well  emphasised,  and  in  running  on 
spellon-  |  garreseces  |  ,  the  last  word  must  come  out 
very  strong  and  decided,  with  the  chief  force  and  highest 
pitch  on  re  (which  must  be  kept  short),  and  then  without 
running  on  to  s,  the  energy  of  speech  must  expend  itself 
on  the  low  ces  (keep  c,  s  as  pure  /£,  s).  Then  make  a  pause 
and  resume  in  quite  an  altered  quiet  tone,  dulloquimur  | 
fu'gerit  in-  |  vida  |  ae'tas  |  and  then  encouragingly  car- 
pedie  | ,  and  with  an  implied  smiling  shake  of  the  head  : 
cquamminimu  |  ccre'dula  post-  |  era 

ART.  127.  Example  G. — This  and  (H.)  are  introduced 
for  the  sake  of  the  ehoriambic  pentameters.  Observe 
in  (G.)  the  strictly  ehoriambic  terminations  militiae  (2), 
carminibus  (4),  indbmina  (6),  with  a  pitch-accent  rhythm 
quite  different  from  Ovid's,  which  is  only  found  in  (8). 
The  piece  is  not  particularly  good  for  declamation,  but 
the  flattery  of  (3),  with  the  attestation  ita  siffe'lix,  and 
the  parenthetical  good  wishes  of  (4)  admit  of  a  little 
variety,  as  also  the  parenthetical  utconsv?mus  (5).  The 
assimilated  final  m  must  be  observed  in  (6)  and  (7),  and 
care  must  be  taken  to  preserve  in  long  in  (7)  and  ge 
short,  as  :  nectantuinginio  quantusservire  dolo'rl. 

ART.  128.  Example  H. — This  is  a  sample  of  those 
monotonous  Ovidian  " longs  and  shorts"  which  so 
afflicted  our  school  life.  It  is  necessary  thoroughly  to 
understand  the  cadence  of  the  final  choriambs  :  ipsevenl 


106  POETICAL  EXAMPLES.       [Art.  128-130. 

(2),  trojafuit  (4),  a  |  diilter  aquis  (6),  re  |  licta  dies  (8), 
tela  manus  (10),  which  ought  not  now  to  occasion  any 
difficulty.  Their  monotony  of  pitch-accent  is  wonderful. 
Be  careful  of  the  /;/  in  (5).  Take  breath  after  deserto  and 
quaerentl  (9)  in  order  to  run  on  jacuisseftrigida  (7),  and 
spatio' saffdllere  (9),  making  the  sef,  saf  quite  long,  but 
entirely  without  emphasis  and  in  low  pitch. 

ART.  129.  Example  I. — Sapphics  put  on  very  different 
characters  in  Horace's  odes.  The  present  example  is 
devotional  and  was  meant  to  be  sung  or  chanted.  It 
will  be  advisable  to  put  a  little  chant  into  it  therefore. 
These  stanzas  are  chosen  because  they  give  three  in- 
stances (i,  9,  10)  of  a  break  in  the  line  opposed  to 
English  habits.  Chant  then  solemnly,  and  bring  out  the 
choriamb  distinctly,  thus  : — 

phoebe  sylva-  |  rucque  potens  |  dia'na, 
lu'ciduccoe-'  |  IT  decus,  6  |  colendi 
semper  et  ciil-  |  ti,  date  quae  |  preca'mur 
tempore  sac-  |  ro. 

Be  careful  with  assimilated  m  in  (7,  9)  and  especially 
(10),  the  last  is 

spebbonaccer-  |  tacque  domur-  |  reports 

and  breath  should  be  taken  after  que.     See  p.  74,  note. 

ART.  130.  Example  K. — This  is  completely  stoical, 
lauding  the  immovability  of  the  "just"  man.  It  is 
therefore  a  bold  piece  of  declamation.  There  must  be 
a  pause  after  et  (i),  the  slur  in  (2),  ndn  ci'vi-ucir-dor, 
requires  especial  practice  to  save  it  from  ndn  cl'vju-ardor, 
with  an  hiatus  :  but  ndn  ci'vi  war  dor  would  be  preferable 
to  this.  Practice  uardor  separately,  and  ci'viu  separately, 


Art.  130,  131.]        POETICAL  EXAMPLES.  107 

and  then  put  them  together.  Bring  out  the  molossus 
instantis  in  (3).  The  mentequdtit  \  sblidd  \  must  be  bold 
and  fine  3  the  effect  depends,  as  so  often  before,  on  the 
length  and  low  pitch  of  the  last  syllables.  In  (6)  make 
a  point  of fulmmdnttS)  and  run  magnajbvis  into  a  distinct 
choriamb.  But  reserve  force  for  (7)  and  (8).  There 
must  be  quiet  preparation  first  for  the  explosion  on  bd 
(7)  after  the  long  syllables  ilia,  and  for  the  strong  impdvi- 
dufferient,  where  the  effect  is  produced  by  the  long  but 
low  pitched  im  and  duft  The  rulnae  is  a  comparatively 
quiet  word  because  its  coming  has  been  so  thoroughly 
anticipated. 

ART.  131.  Example  L. — This  is  a  piece  of  fun  through- 
out, which  is  explained  by  the  last  four  lines.  An  old 
usurer  is  seized  with  a  false  sentiment  for  country  life, 
and  gloats  over  what  he  fancies  would  be  its  amusements 
to  him,  but  which  of  course  would  prove  dreadful  an- 
noyances to  a  man  who  had  lived  such  a  life  as  his.  So  he 
works  himself  up  through  some  66  lines  of  false  sentiment, 
of  which  only  18  are  given  in  (L.),  into  a  determination  to 
give  up  his  usury  and  go  to  the  country.  Whereupon  he 
calls  in  all  his  capital  in  the  middle  of  the  month,  and 
at  the  end  of  a  fortnight  he  is  so  disgusted  with  his 
venture  that  he  tries  to  reinvest  the  whole.  This  false 
sentiment  is  easy  to  express,  and  no  harm  is  done  if  it  is 
ludicrously  exaggerated.  Hence  the  first  four  lines  can 
be  spoken  with  a  wonderful  variety  of  pitch,  the  high 
tones  rising  to  a  kind  of  falsetto.  \\\  prbcul  (i)  lengthen 
the  cul  greatly,  and  similarly  the  final  Is  in  nego'tils. 
Mind  the  spondee  in  (2),  contrast  the  paterna  and  sills, 
and  bring  out  the  molossus  (exercei)  in  (3),  and  in  (4) 
mind  the  long ]m  of  6mm,  of  which  much  may  be  made  in 


io8  PAOSE  EXAMPLES.          [Art.  131,  132. 

expression.  Line  (17)  will  require  care  on  account  of  its 
trissyllabic  measures  and  final  m.  At  (19)  the  voice  and 
manner  entirely  changes.  The  writer  gives  the  key  to 
the  mystery  and  dismisses  the  usurer  caustically.  Pay 
attention  to  the  mental  effect  of  jam/am,  as  well  as  to  its 
phonetic  effect  of  assimilated  m,  as  ja'ijaffutii'riis  ru's- 
tiais,  (p.  66,  note  2)  and  mind  the  spondee  in  the  third 
place.  In  (21)  attend  both  to  mental  and  phonetic  effect 
of  bmnerredegit.  After  this  line  pause,  and  give  the  last 
line  in  a  quiet  cutting  tone.  See  also  the  remarks  on 
p.  77. 

XIII.    How  to    Read  the  Prose    Examples   in 
the  Appendix. 

ART.  132.  These  cannot  be  considered  in  such  detail, 
for  I  despair  of  making  myself  intelligible  except  by 
reading  the  passages.  But  I  will  observe  upon  neces- 
sarily -unemphatic  words,  such  as,  autem,  etiam,  quidem, 
enim,  &c.,  and  the  probability  that  they  also  came  under 
Quintilian's  rule  of  juncturae.  Thus  in  (M.  i),  estautcin 
or  estautein  will  come  in  weakly,  and  lead  up  to  the  mo- 
lossus  dicendo  which  must  be  clear  and  decided,  while 
etia  will  fall  weak.  Then  equldaccantus  will  be  distinct 
and  important,  and  obstu'rior  must  end  with  a  clear  dac- 
tyle.  Difficulties  arise  in  long  words  with  several  long 
and  short  syllables  mixed  in  a  manner  which  could 
scarcely  occur  in  verse,  except  rarely  in  lyrics,  as  oratione 
(M.  .4),  modularetur  (M.  4),  ad  auriuvolupta'tessequatur 
industria  (M.  6),  multitu'do  (N.  2),  longitu'dinuet  brevi- 
ta/tulnsonls  (N.  4.  5),  animadversio  (O.  6),  nominantur 
(N.  9),  jOdiciussuperbissimu  (Q.  6).  It  is  only  by  study- 


Art  133-136.]  PROSE  EXAMPLES.  109 

ing  such  separate  little  phrases  that  these  difficulties  can 
be  overcome.  It  is  principally  necessary  to  keep  the 
quantities  pure,  but  care  must  also  be  taken  to  raise  and 
lower  the  pitch  of  the  voice  in  the  right  places. 

ART.  133. — Example  M.  offers  no  difficulties  beyond 
what  have  been  mentioned.  It  is  a  quiet  piece  of  lecture 
delivery  in  which  every  point  should  be  neatly  and 
cleanly  rendered  without  fuss  or  mouthing. 

ART.  134.  Example  N.  is  similar,  but  (i,  2)  relate 
a  fact,  which  has  to  be  emphasised  by  tota  and  u'na 
sy'llaba,  while  (2)  and  (3)  states. another  fact,  advanced  in 
a  different  tone  of  voice,  and  (4)  to  (6)  gives  Cicero's 
explanation  of  both,  and  all  this  should  be  indicated  by 
the  character  of  tone  employed. 

ART.  135. — Example  O.  is  also  a  lecture  piece,  but  (12) 
and  (13)  are  capable  of  a  little  point,  by  funnily  empha- 
sising the  cdmico'rum  and  especially  the  abjectl. 

ART.  136. — Example  P.  is  a  criticism  on  the  rhythmical 
character  of  a  sentence.  Only  the  last  word  of  the  first 
clause  is  here  given,  but  it  should  be  read  as  a  de- 
clamatory terminal,  "  persolu'tas,"  with  much  orotundity. 
Then  comes  parenthically  the  name  of  the  foot  (dlchoreus\ 
in  a  quiet  explanatory  tone  of  voice,  followed  by  remarks 
(one  taken  from  another  section  of  the  book),  on  the 
indifferent  quantity  of  final  syllables.  Afterwards  another 
sentence  is  taken,  which  must  be  delivered  with  great 
orotundity,  as  if  at  a  public  assembly,  to  bring  out  the 
final  dichoreus,  which,  in  a  perfectly  quiet  altered  tone, 
must  be  stated  to  have  had  such  an  "  admirable  "  effect. 
Then  a  query  :  "  Did  this  depend  on  the  sense  or  the 
rhythm  ?  Try.  Change  the  order."  Then  the  order  is 
charged  and  the  reader  should  endeavour  to  make  the 


no  PROSE  EXAMPLES.          [Art.  136,  137. 

final  paeon  temeritas  as  effective  as  possible,  in  order  to 
bring  out  the  justness  of  the  following  criticism,  janni- 
hilerit !  said  in  a  quiet  rather  high  off-hand  tone,  such  as 
is  often  adopted  in  similar  circumstances  on  the  Con- 
tinent. The  disagreement  from  Aristotle  (see  Cicero's 
original  bowing  to  his  author,  quia  optimus  autor  ita 
censet,  in  Art.  109)  must  be  given  with  some  unction, 
and  the  last  sentence  must  be  well  contrasted  and  em- 
phasised. Observe :  at  eadeu'verba,  eades*senten§tia, 
animo'istuc  satisest-,  aVribus  non'sa"tis.  The  last 
dactyle  must  come  out  well,  and  we  must  feel  that 
it  is  preceded  by  a  cretic.  The  nature  of  the  feet 
in  the  cadence  of  all  clauses  (not  merely  of  sentences) 
were,  if  we  may  trust  their  expressions,  always  brought 
out  by  Cicero  and  Quintilian. 

ART.  137. — Example  Q.  contains  extremely  important 
remarks  on  slurred  and  gaping  vowels,  but  is  all  in  the 
quiet  critical  style.  With  this  we  may  compare  Quin- 
tilian :  dilucida  vero  erit  pronuntiatio  [delivery]  primum, 
si  verba  tota  exierint,  quorum  pars  dlvorare,  pars  destitui 
solet,  plerisque  extremas  syllabas  non  perferentibus,  dum 
priorum  sono  indulgent,  [shewing  Latin  vicious  habits, 
comparable  to  our  own,  and  explaining  many  subsequent 
changes.]  Ut  est  autem  necessaria  verborum  explanatio 
[clear  utterance;]  ita  omnes  imputare-et  velut  anrmme- 
rare  litteras  molestum  et  odiosum,  [which  must  be  par- 
ticularly noted,  but  foreigners  are  always  allowed  to 
speak  with  more  distinctness  than  natives,  without  being 
stigmatised  as  molesti  et  odiosi,  thus  Gaelic  and  Welsh 
English  is  often  felt  to  be  "  prettier  "  and  "  pleasanter  " 
than  our  own  more  freely  treated  language.]  Nam  et 
vocales  frequentissime  coeunt  [slur  into  one  another,]  et 


Art.  137,  138.]  PROSE  EXAMPLES.  in 

consonantium  quaedam  [he  is  evidently  thinking  prin- 
cipally of  m  but  he  is  allowing  for  old  s  and  other  ex- 
amples in  Cic.  Or.  §§  153 — 162]  insequente  vocali 
dissimulatur  ["made  to  appear  something  else,"  this  is 
its  literal  meaning,  but  in  White's  Latin  Dictionary  it  is 
in  this  passage  translated  by  a  totally  different  metaphor 
as  "absorbed."  Observe  how  this  interpretation  supports 
that  given  to  in  earn  tramlre  on  p.  60.]  Utrique  ex- 
emplum  posiiimus :  multum  ille  et  terrls.  Vitatur  etiam 
duriorum  inter  se  congressus,  unde  pellexit  et  collegit,  &c. 

(n,  3,  33—35)- 

ART.  138.  Example  R. — The  story  of  Gracchus's 
piper  is  here  .told  as  a  dialogue  and  allows  of  a  little,  not 
much,  alteration  of  voice.  The  parenthesis  (3-5)  should 
be  marked,  for  the  connection  of  Gracchus  with  cum  ebur- 
neola  solitus  est  habere  fistula  qui  staret  &c.  (3,  5)  is  not 
very  clear  to  an  Englishman,  and  will  require  some 
management  of  the  voice  to  bring  out.  Observe  cuccon- 
tionaretur  (6).  The  observation  of  Catulus  (9,  10) 
must  be  made  in  quite  another  tone  of  voice.  Then 
Crassus  returns  and  begins  meditating  on  Gracchus's 
treason — and  I  have  taken  advantage  of  Julius's  cutting 
him  short  to  cut  him  still  shorter.  The  mitte  bbsecro, 
is  a  polite  stop,  and  the  last  words  of  Julius's  speech, 
cujus  ego  nondum  &c.  admit  of  considerable  expression 
as  shewing  that  he  had  failed  to  understand  the  reason. 
Now  whether  the  reason  given  by  Crassus  is  right  or 
wrong  it  is  not  very  possible  to  say.  I  must  own  I  am 
not  satisfied  with  it,  and  I  think  Quintilian's  version 
more  likely  to  be  correct,  judging  from  Cicero's  further 
account  of  the  extremely  artificial  character  of  Gracchus's 
oratory : — 


H2  PROSE  EXAMPLES.  [Art.  138. 

Quid  fuit  in  GracchS?  quern  tu,  Catule,  melius  meministi,  quod 
me  [Cotta  is  speaking]  puero  tantopere  lerretur  [C.  Gracchus  was 
killed  B.C.  122,  Cotta  was  born  B.C.  124.]  "  Quo  me  miser  con- 
feram  ?  quo  vertam  ?  in  Capitoliumne  ?  at  fratris  sanguine  redundat  : 
an  domum?  matremne  ut  miseram  lamentantemque  videam,  etabjec- 
tam  ?  "  Quae  sic  ab  illo  acta  [delivered,  not  '  acted  ']  esse  constabat, 
oculis,  voce,  gestii,  inimici  ut  lacrimas  tenere  non  possent.  Haec 
eo  dlco  pliiribus,  quod  genus  hoc  totum  5ratores,  qui  sunt  veritatis 
ipsms  actores,  reliquerunt ;  imitatores  autem  veritatis  histriones 
occupaverunt.  (Cic.  De  Or.  book  iii.  §  214.) 

It  is  evident  that  the  whole  manner  of  Gracchus  had 
become  tradition alv  even  in  Cicero's  time,  and  that  there- 
fore Crassus's  explanation  can  only  be  a  theory. 

Now  Quintilian  was  of  course  still  farther  off,  and 
possibly  he  took  the  tale  from  Cicero  whom  he  is  con- 
tinually quoting,  but,  speaking  of  the  relation  of  oratory 
to  music  he  says 

UUno  interim  content!  simus  exemplo  C.  Gracchi,  praecipui 
suorum  temporum  oratoris,  cui  contionanti  consistens  post  eum 
musicus  fistula,  quam  tonarion  [pitch  pipe]  vocant,  modos,  quibus 
deberet  intend!,  monstrabat.  Haec  e!  cura  inter  turbidissimas 
actiones  vel  terrent!  optirnates  vel  jam  timent!  pr5fuit  (i,  10, 
27). 

Now  the "  modos "  would  seem  to  imply  the  cadences 
which  were  peculiar  to  the  Greek  musical  modes,  and  it 
appears  to  me,  that,  although  very  possibly  Quintilian 
used  the  word  at  a  venture  knowing  little  of  musical 
theory,  this  is  a  more  likely  solution  than  Cicero's,  put 
into  the  mouth  of  Crassus,  since  these  different  "  musical 
modes  "  were  especially  suitable  to  Gracchus's  theatrical 
oratory. 

At  the  end  of  Crassus's  explanation,  the  last  lines  of 
advice  may  be  given  in  a  quiet  little  preceptorial  manner, 


Art.  138—140.]  CONCLUSION.  113 

"  of  course  you  will  understand  that  the  piper  is  to  be 
left  at  home,  and  only  the  meaning  of  his  piping  brought 
with  you  to  the  forum." 

ART.  139.- — Example  S.  is  Italian  and  not  Latin  at  all, 
but  I  attempted  to  recite  it  when  reading  my  paper,  in 
order  to  shew  the  precise  nature  of  the  phonetic  facts  on 
which  I  have  founded  the  explanation  of  slurred  vowels, 
and  omitted  but  assimilated  m.  It  is  retained  here  in 
order  that  the  reader  may  be  able  to  verify  these  facts, 
by  getting  Italian  natives  who  have  had  a  literary  educa- 
tion and  speak  pure  Tuscan,  to  read  the  passage  to  him, 
so  that  he  may  really  hear  and  understand  for  himself 
that  these  theories  are  founded  on  living  realities. 


XIV.  Conclusion* 

ART.  140. — Notwithstanding  the  theoretical  points 
which  have  been  touched  upon  in  the  arguments  raised 
in  favour  of  the  method  for  the  treatment  of  slurred 
vowels  and  final  M,  here  proposed,  of  which  the  latter 
forms  the  greatest  novelty  in  this  tract,  yet  I  hope 
that  I  have  not  belied  the  promise  of  my  title  and  of  my 
opening  paragraph,  but  have  furnished  strictly  practical 
rules  for  arriving  at  a  feeling  for  ancient  Roman  rhythm 
in  verse  and  in  prose,  quantitative  and  accentual.  It  is 
perhaps  scarcely  necessary, to  observe  that  even  if  my 
theory  of  assimilated  m  be  not  accepted,  through  the 
great  prejudice  in  favour  of  the  use  of  pure  final  m, 
dating  from  the  time  when  Latin,  having  broken  up  into 
separate  languages  for  common  use,  was  restudied  as 

i 


114  CONCLUSION. 

a  dead  language  with  modern  usages,  and  without  a  con- 
sciousness of  the  ancient  treatment,  to  which  the  modern 
form  of  the  derived  languages  was  obviously  due, — yet 
even  if  m  be  retained,  if  Quintilian's  lament  (in  him 
certainly  quite  alphabetical)  over  the  frequency  of  the 
"lowing"  final  m  be  justified  by  scholastic  usage,  all  the 
rest  of  the  work  that  I  have  done  is  as  available  as  ever 
for  practical  use,  and  will  equally  well  serve  to  give 
a  feeling  for  the  rhythm  of  Latin  speech  which  is  of 
course  dependent  principally  on  a  strict  observance  of 
the  laws  of  length  and  pitch,  and  independent  to  a  great 
extent  of  particular  alphabetic  usages.  But  allow  me 
finally  to  draw  attention  to  the  absolute  necessity  of 
general  phonologic  studies  to  all  those  who  would  deal 
with  the  intricate  questions  of  classical  pronunciation, 
not  merely  Latin,  which  is  comparatively  easy,  although 
very  very  far  from  having  been  completely  investigated, 
but  especially  Greek,  which  presents  problems  of  re- 
markable difficulty.  Those  who  have  hitherto  written  on 
the  subject  have  seldom  known  much  more  of  phonology 
than  they  could  learn  by  speaking  their  own  language, 
without  thinking  of  how  they  spoke,  or  of  what  speech  was. 
But  for  such  investigations  as  the  present,  an  acquaint- 
ance with  the  habits  of  many  natiors  is  indispensable, 
and  of  the  historical  alteration  of  sounds.  It  will  have 
been  seen  that  I  was  led  to  my  theory  of  final  M  by 
delicate  observations  on  the  synthesis  of  Italian  sounds, 
scarcely  known,  and  seldom  even  mentioned  in  Italian 
books,  which  I  owe  entirely  to  Prince  Louis  Lucien 
Bonaparte.  It  is  also  necessary  to  become  acquainted 
with  the  phonetic  facts  which  have  underlain  explanations 
by  grammarians  who  were  but  roughly  acquainted  with 


Art.  140.]  CONCLUSION.  115 

their  nature,  in  order  to  have  a  glimpse  of  the  meaning  of 
other  grammarians  who  are  presenting  unknown  facts.  If 
I  have  in  any  way  succeeded  in  putting  together  a  "work- 
ing model"  of  Augustan  speech, — with  of  course  all  the 
roughness  and  incompleteness  of  a  model, — I  owe  my 
success  to  my  previous  phonologic  studies  for  more  than 
thirty  years,  and  to  my  yet  unfinished  historical  studies 
during  the  last  ten  years,  on  Early  and  Existing  English 
Pronunciation,  received  and  dialectal. 


I    2 


LI 


> 


U  -A 


APPENDf! 


CALIFOil.MA. 


QUANTITATIVE    EXAMPLES. 


NOTE. —  The  diphthongs  ae,  oe,  au,  eu,  ui,  being  naturally  long, 
are  unmarked.  Other  naturally  long  vowels  are  marked  a,  e,  I,  6, 
u.  Short  vowels  are  left  unmarked.  The  consonant  which  "makes 
position"  is  followed  by  a  hyphen,  as  in  ip-se. — ART.  22.  30. 

Vowels  connected  by  w  are  to  be  slurred  together  in  one  syllable , 
this  mark  is  not  used  in  the  prose  examples. — ART.  58. 

In  example  A  only,  a  high  pitch  of  voice  sustained  throughout  art 
entire  syllable  is  marked  by  an  acute  accent,  as  omnes  ;  when  the  pitch 
of  the  voice  rises  and  falls  again  in  the  same  syllable  the  circumflex 
accent  is  used,  as  6-ra.  Unaccented  vowels  are  in  a  lower  pitch  of 
voice.  The  acute  accent  is  retained  before  que  in  all  the  examples, 
as  metaque. — ART  41. 

A  small  m  as  in  quan-quam^animus  is  to  be  entirely  neglected.  An 
m-  at  the  end  of  words,  or  in  m-que,  making  "position"  as  jam- 
nox,  certam-que  is  not  to  be  sounded  at  all,  but  is  to  be  made  effective 
by  pronouncing  the  following  consonant  as  if  it  were  double,  thus 
jannox  certacque,  or  by  lengthening  the  preceding  vowel  before  a 
pause,  as,  dolo're. — ART.  91. 

The  numbers  following  the  title  of  any  example,  refer  to  the  pages 
on  which  that  example  is  cited,  and  an  asterisk  indicates  the  page 
where  special  explanations  are  given.  See  generally,  ARTS.  115 

—139- 

Example  S.  is  Italian,  not  Latin,  and  illustrates  slurred  vowels 
and  unwritten  consonants  assimilated  in  speech,  not  quantity. 


1  18  QUANTITATIVE  EXAMPLES.  [A.  B. 

A. 

Aeneas'  s  Introduction  to  his  Account  of  the  Destruction  of  Troy. 
See  pp.  32.  33.  37.  40.  41.  42.  67.  68.  90*. 

con-ticuere^om-nes,  in-ten-tique^6ra  tene'ban-t. 
2     in-de  toro  pater  aene'as-   sic  or-sus  ab  al-to  : 

m-fan-dum-,    regina,  jubes-   renovare  dolo'rem-,  ' 
4    troja'nas  ut  opes  et-   lamen-ta'bile  reg-num 

eruerin-t  danai,  quaeque^ip-se  miser-rima  vi'di, 
6     et-   quo'rum-   par-s  mag-na  fin.      quis-   ta'lia  fan-do 

myr-midonum-   dolopum-vew/aut-   du'ri  miles  ulix-i 
8     tem-peret  a  lacrymls  ?   et-  jam-   nox-  hu'mida  coe'lo 

praecipitat-,    svaden-tque  caden-tia  si'dera  som-nos-. 
10     sed-,    si  tan-tus  amor-   ca'sus-    cognos-cere  no's-tros 
et-   breviter-  tro'jae  sup-re'mumv_,audrre  labo'rem-,  — 
12     quan-quamwanimus-   nieminis-sewhor-ret-    luc-tu'que  refugit 

in-cipiam-.     frac-ti  bel-lo  fati's-que  repul-si 
14     duc-to'res-  danaum-,  tot-  .jam-   laben-tibus  an-nis 

I'n-star-    mon-tis  equum-   divfna  pal-ladis  ar-te 
1  6     aedifican-t,  sec-ta'que^in-tex-un-t  ab-jete  cos-tas  ; 

/  vo'tum-   pro  reditu  simulan-t  ;  ea  fama  vagatur. 
1  8  ^huc  delec-ta  virum-    sor-tfti   cor-pora  fu'r-tim 

in-clu'dun-t  cae'co  later!,   penitus-que  caver-nas 
20     ingen-tes  .uterum-que^ar-ma'to  milite  com-plen-t. 

es-t  in  con-spec-tu  tenedos-,  notfs-sima  fa'ma 
22     fn-sula,   dives  opum-,  priami  dum-   reg-na  mane'ban-t, 

nunc:  tan-turn-   sinus  et-   statio  malefida  cari'nis  ; 
24    hue  se  provec-tT  deser-to^in  li'tore  con-dun-t  ; 
nos  abiis-se  rati,wet-  ven-to  petiis-se  myce'nas. 

VIRG.   Aen.  ii.    I  —  25. 


' 

Roman  Policy  as  contrasted  with  Greek  Art. 
See  pp.  32.  33.  34.  40.  41.  68.  94*. 

quo  fes-sum-   rapitis-,   fabii?   tu  max-imus  il-Ie^es, 
2     unus-   qui  nobis-  cun-ctan-do  res-titues- 


B.  C]  QUANTITATIVE  EXAMPLES.  119 

ex-cuden-t  alii  splran-tia  mol-lius  aeja, 
4     credo^equidem-,  viv5s-   ducen-t  de  mar-more  vul-tus, 

5<abun-t  causas-  melius-,  coelfque  meaius- 
6     describen-t  radio^et-   sur-gen-tia  sidera  dicen-t; 

tu_  regere^im-perio  populos-,  romane,   memen-to  :  c 

8     hae  tibi^erun-t  ar-tes-,  pacis-que^im-ponere  morem- ; 

par-cere  sub-jec-tis,  et-   debel-lare  super-bos. 

VIRG.  Aen.  vi.  845 — 853. 


c. 

Lament  for  Marcellus. 
Se<Tpp.  32.  33.  41.  71*.  97*. 

o  nate^in-gen-te%;   luc-tum-   ne  quaere  tuorum, 
2     os-ten-den-t  ter-ris  hun-c  tan-tum-   fata,  neque^ultra 

es-se  sinen-t.      nimium-   vobls-  romana  propago  . 
4     visa  poten-s,  super!,  propria^haec-   si  dona  fuis-sen-t. 

quan-tos  il-le  virum-   mag-nam-  mavor-tis  ad  ur-bem- 
6     cam-pus  aget-   gemitus- ;  vel-   quae,  tiberlne,  videbis- 

funera,  quum-   tumulum-   praeter-labere  recen-tem- ! 
8     nee  puer  iliaca  quis-quam-   de  gen-te  latinos 

in-   tan-tum-   spe  tol-let  avos-,  nee-   romula  quon-dam 
10     ul-lo  se  tan-tum-   tel-lus  jac-tabit  alum-no. 

heu  pietas,  heu  pris-ca  fides,  in-vic-taque  bel-lo 
12     dex-tera !   non  il-li  se  quis-qukam^im-pune  tulis-set 

ob-vius  armato,  seu  quum-   pedes  iret  in  hos-tem- 
1 4     seu  spuman-tis  equi  foderet-   cal-caribus  ar-mos. 

heu,  miseran-de  puer-,  si  qua  fatawas-pera  rum-pas 
1 6     til  mar-cel-lus  eris-.      manibus-   date  lilia  plenis- ; 

pur-pureos-   spar-gam-  flores,   animam-que  nepotis 
1 8     his  sal-temwac-cumulem-   donis,  et-   fun-gar  inanT 

txumere.  VIRG.  Aen.  vi.  868 — 8 


120  QUANTITATIVE  EXAMPLES.  [D.  E. 

D. 

No  One  Contented  with  his  Lot. 
See  pp.  17.  32.  33.  40.  68.  99*. 

qul  fit-,  maecenas,  ut-   nem5,  quam-   sibi  sor-tem- 
2     seii  rati5  dederit-,  sen  for-s  ob-jecerit,  il-la 

con-ten-tus-  vivat-,  laudet-   diver-sa  sequen-tes  ? 
4     "5  for-tunatT  mer-catores  ! "  gravis  an-nis 

miles  ait-,  mul-t5  jam-   frac-tus-   mem-bra  labore. 
6     con-tra  mer-cator-,  navim-  jac-tan-tibus  austris  : 

"militia^es-t  potior-.      quid  enim-?   con-cur-ritur ;   h5rae 
8     momen-to^aut  cita  mor-s  venit,  aut  vic-toria  laeta." 

ag-ricolam-   laudat-  juris-   legum-que  peritus-, 
10     sub-   gal-li  cantum-   con-sul-tor  ubi^os-tia  pul-sat. 

il-le,  datis-   vadibus-   qul  rure^ex-trac-tus  in  ur-bem^es-t, 
12     sSlos-  felices-  viven-tes-  clam  at  in  ur-be. 

cetera  de  genere^hoc,  adeo  sun-t  mul-ta,   loquacem- 
14    delas-sare  valen-t  fabium-.      ne  te  morer,  audi, 

quo  rem-  deducam-.      si  quis-   deus,    "en  ego,"  dicat. 
1 6     "jam-   faciam-    quid-   vol-tis ;   eris-  tu,  qul  modo  miles-, 

mer-cator-;   tu,   con-sul-tus-  modo,  r\is-ticus ;  hm-c  vos, 
1 8     vos  hin-c  mutatis-  dis-cedite  par-tibus.   -  eja ! 

quid-   statis-?"  nolin-t.      at-qui  licet  esrse  beatis-. 
20     quid-   causae^est,  merito  quin  il-lis  Jupiter;  am-bas 

iratus-   buc-cas  in-flet-  ?   neque  se  fore  pos-tliac 
22     tarn-   facilem-   dicat-,  vptis  ut  praebeat  aure™  ? 

HOR,,  Sat.  i.  I — 22 
\ 

E. 

Dedication  of  the  Odes  to  Maecenas* 
See  pp.  73.  101*. 

I 

maecenas,  atavis  edite  regibus, 
Z.    6  et-   praesidiumwet-  dul-ce  decus-   meum-, 


E.  F.  G.]          QUANTITATIVE  EXAMPLES.  21 

sun-t  quos-  cur-riculo  pulveremwolym-picum- 
4     col-legis-se  juvat-,  metaque  fer-vidis 

evitata  rotis-   pal-maque  n5bilis- 
6     ter-rarum-   dominos  evehit  ad-    decs-. 

me  doc-tarum^hederae  praemia  frorYtium- 
8     dis-   mis-cen-t  superis- ;   me  gelidum-   nemus 

nym-pharumque  leves-   cum-   satyris-   choii 
10     secer-nun-t  populd,  si  neque  tifjias 

euter-pe  cohibet-,  nee-   polyhym-nia  .^-^JL 
12     les-boum-   refugit-   ten-dere  bar-biton. 

quod-   si  me  lyricis-  vatibus  in-seris, 
14     sub-llmi-   feriam-   sidera  ver-tice. 

HOR.    OOd.  i.   i.    I — 6.  29—36. 


F. 

Leuconoe  Recommended  not  to  Peer  into  the  Future. 
See  pp.  67.  73.  104.* 

tu  ne  quaesieris-,  sclre  nefas-  !   quern-   mihi,  quern-    tibi 
2     flnem-   dl  dederin-t,  leuconoe ;   nee-   babylonios- 

ten-taris-   numeros.      ut-   melius-,   quic-quid  erit-,  patl  ! 
4     seu  pliires  hiemes-,  seu  tribuit-  Jupiter  ul-timam-, 

quae  nunc  op-positis  debilitat-    pumicibus-    mare 
6     tyr-rhenum-:  sapias-,  vma  liques,  et-   spatio  brevi 

spem-   Ion-gam-    reseces-.      dum-   loquimur-,  fiigerit  in-vida 
8     aetas- ;   car-pe  diem-,  quam-   minimum-   credula  pos-tero. 

HOR.   OOd.  i.  ii. 

G. 

While  Ponticus  writes  Heroics,  Propertius  keeps  to  Erotics. 
See  pp.  74.  105*. 

dum-   tibi  cadmeae  dicun-tur-,  pon-tice,  thebae, 
2         ar-inaque  frater-nae  tris-tia  militiae. 


QUANTITATIVE  EXAMPLES.          [G.  H.  I. 

at-que,wita  sim-   felix-,  pnmo  con-ten-dis  Homero, 

sin-t  modo  fata  tuis-   mol-lia  car-mlaibus-  ! 
nos,  ut-    con-svemus-,  nos-tros  agitamus  amores, 

at-que^aliquid-   duram-  quaerimus  in-  dominam- ; 
nee-   tan-tum^in-genio,   quan-tum-   servire  dolorl 

cogor,  et  aetatis-    tem-pora  diira  queri. 

PROP.  Eleg. 


H. 

Penelope  writes  to  Ulixes. 
See  pp.  74.  105*. 

han-c  tua  penelope  len-to  tibi  mit-tit,  ulix-e, 

ml-    mihi  res-cribas,  at-tamen  ip-se  veni. 
troja  jacet-   cer-te,  danals  in-visa  puel-lis- : 

vix-   priamus-   tan-ti  totaque  troja  fuit. 
o  utinam-   tun-c  quum-   lacedaemona  clas-se  petebat 

ob-rutus  m-sams   es-set  adul-ter  aquis- ! 
non  ego  deser-to  jacuis-sem-   frigida  lec-to, 

nee-   quererer-   tard5s  Tre  relic-ta  dies  ; 
nee-   mihi,  quaeren-tl  spatiosam-   fal-lere  noc-tem-, 

las-saret  viduas  pen-dula  tela  manus. 

Ov.  Her.   I, 


I. 

Hymn  to  Phoebus  and  Diana. 
See  pp.  68.  74.  106*. 

phoebe  syl-vanim-que  poten-s  diana, 
2     lucidum-   coeli  decus,  5  colen-di 

sem-per  et-   cul-ti,  date  quae  precamur- 
4  tern-pore  sac-ro 


I.  K.  L.]  QUANTITATIVE  EXAMPLES.  123 

quo  sybil-lmi  monuere  ver-sus 
6     virgines-  lec-tas  puero's-que  cas-tos- 

dis,  quibus-   sep-tem-   placue're  col-les, 
8  dicere  car-men. 

haec-  jovem-    sen-tire  deo's-que  cun-ctos 
10     spem-   bonatn-   cer-tam-que  domum-    repor-to, 

doc-tus  tt-   phoebi  chorus  et-   dianae, 
12  dicere  laudes. 

PJoR.   Carm.  Saec.  I — 8.  73 — 76. 

K. 

The  "Just"  Man. 
See  pp.  25.  74.  75.  106*. 

jus-tum^/et   tenacem-  propositi  virum- 
2     non  civiumwar-dor-    prava  juben-tium-, 

non  vul-tus  m-stan-tis-   tyran-m 
4  men-te  quatit-   solida ;   neque^auster-, 

dux-   in-quieti  tur-bidus  had-riae, 
6     nee-   ful-minan-tis-  magna  jovis-   manus-, 
si  frac-tus  il-labatur  or-bis 
im-pavidum-   ferien-t  rumae. 

HOR.   OOd.  iii.  3,   i— 8. 

L. 

Tke  Usurer's  Anticipated  Country  Pleasures. 
See  pp.  42.  68.  77*.  107*. 

beatus  il-le,  qui  procul-   neg5-tiis 
2         ut-   pris-ca  gen-s  mor-talium-, 

pater-na  riira  bubus  ex-er-cet  suis- 
4         solutus  om-m  foenere  ; 

neqiie^ex-citatur-   clas-sico  miles-   truci, 
6       '  nequejhor-ret  Iratum-   mare, 


124  QUANTITATIVE  EXAMPLES.  [L.  M. 

forum-que  vitat  et-    super-ba  civium- 
8         potentiorura-   limina. 

libet-   jacere  modo  sub  an-tiqua^ilice, 
10         modojm-   tenaci  gramme. 

at-   quum-   tonan-tis  an-nus  hiber-nus-  jovis 
12         im-bres  nive's-que  com-parat, 

aut  trudit  acres  hin-c  et  hin-c  multa  cane 
14         apros  in  ob-stan-tes  plagas ; 

aut  amite  lev!  rara  ten-dit-   retia, 
1 6         tur-dis  edacibus-   dol5s  ; 

pavidum-que  leporem^et  ad-venam-   laqueo  gruem-, 
1 8         jucun-da  cap- tat-   praemia. 

haec  ubi  locutus-   foenerator  al-fius, 
20        jam-jam-   futurus-   rus-ticus, 

om-nem-   red!"git  Tdibus-   pecuniam- ; 
22         quaerit-   calen-dis-   p5nere. 

HOR.  Ep.  2,  i — 8.  23 — 24.  29—36.  67—70. 


M. 

Natural  Melody  as  shewn  by  Latin  Accent. 
See  pp.  8  note,  72.  79.  87.  108*.  109*. 

es-t  autem  in-  dicen-do  etiam-  quidam-  can-tus  ob-scurior. 
2  in-quo  il-lud  etiam-  notan-dum-  mihi  videtur  ad-  studium- 

per-sequen-dae  svavitatis  in-  v5cibus.  ip-sa  enim-  natiira, 
4  quasi  modularetur  hominum  6rationem,  in  om-m  ver-bo  posuit 

acutam-  vocem-,  nee  una  plus-,  nee  a  pos-trema  syl-laba  citra 
6  ter-tiam- :  quo  magis-naturam-  ducem  ad  aurium-  volup-tatem- 

sequatur  in-dus-tria.  ac-v5cis  quidem-  bonitas  op-tan-da  est. 
8  non  est  enim  in-  nobis-,  sed-trac-tatio  at-que  iisus  in-  nobis. 

er-go  il-le  prin-cep-s  variabit  et-  mutabit ;  om-nes  sonorum-, 
10  tum  in-ten-den-s,  turn-  remit-ten-s,  per-sequetur-  gradiis. — Cic. 

OOrator.  §§  57—9. 


N.  O.  QUANTITATIVE  EXAMPLES.  125 


N. 

Natural  Feeling  of  Uneducated  People  for  Long  and  Short 
Quantities,  and  High  and  Low  Pitch. 

See  pp.  2  note,  9  note,  79.   109*. 

in-  ver-su  quidem-  theatra  tota  ex-claman-t  si  fuit  lina  syl- 
2  laba  brevior  aut  lon-gior.  nee  ver5  mul-titiido  pedes-  novice 

nee  ul-los-  numeros-  tenet  :  nee  il-lud-5  quod  of-fen-dit,  aut 
4  cur,  aut  in-  quo  oMen-dat,  in-tel-ligit :  et-  tajnen .  /pm-nium-  ^ 

lon-gitudinum  et-  brevitatum  in-  soms-,  slcut  acutarum-  gravium- 
6  que  vocum-  judicium  ip-sa  natura  in  auribus-  nostris-  col- 

locavit.— Cic.  OOrdtor.  §  173. 


O. 

Quantitative  Rhythm  in  Prose,  and  the  Resemblance  of  Greek  Lyrics 
and  Latin  Comic  Senaril  to  Prose  Rhythms. 

See  pp.  7.  9.  20.  79.  109*. 

es-se  er-go  in  oratione  nurnerum-  quen-dam-  non  es-t  dif- 
2  ficile  cog-nos-cere.  judicat  enim-  sen-sus  :  in-  quo  imquum 

est,  quod  ac-cidit-,  non  cog-noscere,  si,  cur  id  ac-cidat-,  re- 
4  perire  nequeamus.  neque  enim  ip-se  ver-sus-  rati5ne  es-t  cog- 

nitus-,  'sed-  natura  at-que  sen-su,  quern-  dimen-sa  ratio  docuit-, 
6  quid  ac-ciderit.  ita  notati5  naturae  et  animad-versio  peperit 

ar-tem-.  sed  in-  ver-sibus-  res  es-t  aper-tior- :  quan-quam  etiam 
8  a  modls-  quibus-dam-  can-tu  remote,  soluta  es-se  videatur  oratio. 

max-ime'que  in  op-timo  quoque  eorum-  poetarum-,  qui  \vptKol 
10  a  graecis-  nominan-tur-  :  quos  cum-  can  tu  spoliaveris-,  nuda 

paene  remanet  oratio.  quorum-  similia  sun-t  quaedam  etiam 
12  apud-  nos-tros,  quae,  nisi  cum-  tibicen  ac-ces-sit,  oration!  sun-t 

solutae  simil-lima.  at-  c5micorum-  senarii  prop-ter-  similitu- 
14  dinem-  ser-m5nis  sic  saepe  sun-t  ab-jec-ti  ut-  non-nun-quam- 

vix  in  his  numerus  et-  ver-sus  in-tel-ligi  possit.  quo  es-t  ad 
1 6  in-  venien-dum-  dif-ficilior  in  oratione  numerus-,  qua™  in- 

ver-sibus.— Cic.  Q Orator.  §§  183—4. 


126  QUANTITATIVE  EXAMPLES.  [P.  Q. 

». 
P. 

Oratorical  Effect  of  the  Rhythmic  Collocation  of  Words  in  Prose. 
See  pp.  9.   18.  26.  65.  79.  109*. 

....  « per-soliitas."  dlchore-us-.  nihil  enim  ad-  re1", 
2  ex-trema  il-la,  lon-ga  sit  an  brevis.  [quia  pos-trema  syl-laba 

brevis  an-  longa  sit,  ne  in-ver-su  quidem-  refert.  §  217]  dein- 
4  de,  "patris-  die-turn-  sapien-s,  temeritas  filii  com-probavit. " 

hoc  dichoreo  tan-tus-  clamor-  concionis  ex-citatus  es-t,  ut  acl- 
6  mirabile  es-set.  quaerS,  non-ne  id-  numerus  ef-fecerit-?  ver- 

borum  or-dinem  im-muta.  fac-  sic-,  "com-probavit  filii  terae- 
8  ritas";  jam-  nihil  erit,  et-si  "temeritas"  ex  tribus-  brevibns 

et-  lon-ga  es-t :  quem  Aris-toteles  ut  op-timum-  probat,  a  quo 
10  dis-sen-tio.  at  eadem-  ver-ba,  eadem-  sen-ten-tia,  animo 

is-tuc-  satis  es-t,  auribus-  non-  satis. — ClC.  OOrdtor.  §  214 — 5. 


Q. 

On  Running  Words  together.  Slurred    Vowels^   Open  and   Gating 
Voivels,  and  the  Poetic  Use  of  Open   Vowels. 

See  pp.  16  note,  19.  36.  42.  53.  55.  79.  no*. 

ut  in-  Iegen-d5  oculus-,  sic  animus  in-  di-cen-d5  prospiciet- 
2  quid-  sequatur,  ne  ex-tremorum-  ver-borum-  cum  m-sequen- 

tibus-  prlmis-  con-cur-sus,  aut  hiul-cas-  voces  ef-ficiat  aut  as- 
4  peras-.  quam-vls  enim-  svaves-  graves-que  sen-ten-tiae,  tamen- 

si  in-con-ditls-  ver-bis  ef-ferun-tur,  of-fen-den-t  aures ;  quarum 
6  es-t  judicium-  super-bis-simum-.  quod-  quidem-  Latma  lin-gua 

sic  ob-ser-vat-,  nemo  ut-  tarn-  rus-ticus  sit-,  quin-  vocales- 
8  nolit-  con-jun-gere sed-  grace!  viderin-t ;  nobis-,  ne 

si  cupiamus-  quidem-,  dis-trahere  voces-  con-ceditur.    in-dican-t 


Q.]  QUANTITATIVE  EXAMPLES.  127 

10     orationes  il-lae  ip-sae  hor-ridulae  catonis  :  in-dican-t  om-nes- 

poetae,  praeter  e5s-,  qui  ut-  ver-sum-  faceren-t,  saepe  hiaban-t : 
12     ut  en-nius  semel- ;  "sclpio  in-vic-te,"  et-  quidem-  nos:   "hoc- 

motu  radian-tis  etesiae  in-  vada  pon-ti."      h5c  idem-  n5s-tri 
14     saepius- non  tulis-sen-t,  quod- graecl  laudare  etiam-  solen-t. — 

Cic.  0 Orator.  §  150.  152.     (See  also  §  153—162.) 

See  hiatuses  in  Ramsay's  Prosody,  p.  115,  where  he  quotes 

from  Virgil,  the  hiatus  being  indicated  by  a  dash  : — 

Amplrion  Dircaeus  in  Actaeo — Aracyntho. 

EC.  ii.   24. 
addam  cerea  pruna — honos  erit  huic  quoque  porno. 

EC.   ii.    53. 
et  siicus  pecorl — et  lac  subducitur  agnls. 

EC.  iii.  6. 
et,  longum,  formose  vale,  vale — in  quit,   Tola. 

(the  e  in  the  second  vale  shortened,)  EC.  iii.   79. 
stant  et  juniper! — et  castaneae — hirsutae. 

EC.  vii.   53. 
credimus,  an  qui — amant,  ipsi  sibi  somnia  fingunt. 

(the  i  in  qut  shortened,)  EC.  viii.    108. 
et  vera  incessu  patuit  dea — ille  ubi  matrem. 

Aen.   i.  405. 

insulae— Tonio  in  magno,  quas  dlra  celaen5. 

(the  ae  in  ir.sulae  shortened,  but  o  in  wnio  slurred,  which  word, 
but  for  the  necessity  of  verse,  "ut  versum  faceret,"  would  have  been 
ionio,  with  the  first  short  and  second  long,) 

Aen.  iii.   211. 

nomen  et  arma  locum  servant ;  te — amice  nequivi. 
(the  e  in  te  shortened,)  Aen.  vi.  507. 

Ramsay  c,uotes  also  many  other  passages  from  Catullus,  Virgil, 
Horace  (OOd.  i,  28,  24;  ii,  20,  13;  Ep.  5,  loo,  not  in  Sat., 
except  the  passage  with  num,  supra  p.  65,  where  he  adds  the  con- 
jecture "  coctove  num  adest,")  Propertius,  Ovid,  among  Augustan 
writers  ;  shewing  that  the  practice  was  not  uncommon,  and  justifying 
Cicero's  remark,  (Q.  n.) 


128  QUANTITATIVE  EXAMPLES,  [R. 

. 

Sk. 

R. 

The  Story  of  Gracchus 's  Piper  and  its  Theory. 
See  pp.  20.  72.  79.  in*. 

quid  ad  aures-  nos-stras  et  aotionis-  svavitatem-,  quid  es-t 

2     vicis-si-tudine,  et  varietate,  et  com-mutatione  ap-tius?     itaque 

idem-  grac-chus-,  (quod-  potes  audire,  catule,  ex  licino  clien-te 

4     tuo,    Iit-terat5   homini,    quern-    ser-vum-    sibi   il-le   habuit   ad 

manum-),  cum  ebuf-neola  solitus  est  habere  fistula  qui  staret 

6     oc-cul-te  pos-t  ip-sum-  cum-  con-tionaretur-,  perilum  hominem-, 

qui  in-flaret-  celeriter  eum-  so-num-,  quo  iMum  aut  remis-sum 

8     excitaret  aut  a  con-ten-ti5ne  revocaret. 

audivi,  meher-cule,  in-quit  catulus,  et  saepe  sum  ad-miratus 
10     hominis-  cum-  diligen-tiam-  tum  etiam-  doc-trinam  et  scien-tiam. 
ego  vero,  in-quit-  cras-sus,   ac  doleo   quidem  il-los  viros  in 
12     earn-  fraudem  in  republica  es-se  delap-sos  .... 

mit-te,  ob-secro,  in-quit-,  cras-se,  Julius,  ser-monem  is-tum, 
i^     et  te  ad-  grac-ch!  fis-tulam-  refer  :  cujus  ego  non-clum-  plane 

rationem  in-tel-ligo. 

1 6         in  om-nl  voce,  in-quit  cras-sus,  es-t  quid-dam-  medium-,  sed- 

suum-  cuique  voci.      hinc  gradatim   ascen-dere  vocem  utile  et 

1 8     suave  es-t.     nam  a  prin-cipi5"  clamare,  agres-te  qmd-dam  es-t, 

et  il-lud,  idem  ad-  nr-man,-dum   est  vocem-  salutare.      dein-de 

20     es-t  quid-dam-  con-ten-tionis  ex-tremum-,  quod-  tamen  m-ferius 

es-t  qua™  acutis-simus-  clamor-,   quo  te  fis-tuja  pr5gredi  non 

22      sinet,  et-  tamen  ab  ip-sa  con-ten-tione  revoc&bit.      es-t  item- 

con-tra  quid-dam   in  remis-sione   gravis-simum-,   quoque   tan- 

24     quam-  sonorum-  gradibus-.  descen-ditur.     ha.ec  varietas,  et  hic- 

per  om-nes-  sonos-  vocis  cur-sus,  et-  se  tuebkur,  et  acf-ti6ni  af- 

26     feret-  svavitatem-.      sed  fis-tulat5rem-  domi  relin-qifetis,   sen- 

su1^    hujus  con-sue-tudinis  v5bis-cum   ad-  forum-   deferetis.— 

ClC.  De  OOrdtore.  lib.  iii.  §§  225—228. 


S.]  ITALIAN  EXAMPLE,  129 


Opening  of  "Jerusalem  Delivered"  an  Example  of  Slurred  Voweh 
and  Unwritten  Assimilated  Consonants. 

See  pp.  37.  52.  54.  55*,  113, 

-canto  Parmi  pietosew,  e'l  capitano 
2         -che'l  gran  sepolcro  libero  -di  cristo. 

-molto^egli^oprd  -col  sennow,  e  -con  la  mano; 
4         -molto  soffri  -nel  gloriosowacquisto  ; 

ewinvan  1'inferno^a  -lui  s'oppose^,  e^invano 
6         -s'armo  -d'asia^e  -di  libiawil  popol  misto  ; 

-che^il  -ciel  gli  die  -favorew,  e  -sottowai  santii 
8     segni  ridusse^i  suoi  compagni^erranti, 

o  musa  tu,  che  di  caduchi^allori 
10        non  circondi  la  frontewin  elicona, 

ma  su  nel  cielo^infra^i  beati  co-ri 
12         hai  di  stelle^immortali^aurea  corona; 

lu  spira^al  petto  mio  celesti^ardori, 
14         tu  rischiarawil  mio  canto^,    e  tu  perdona 

se^intesso  fregi^al  ver,  s'adorno^in  parte 
1 6    d'altri  diletti  che  de'  tuoi  le  carte. 

TASSO.  Ger.  Lib,  i.  I— 16, 


INDEX   OF   AUTHORS   CITED. 


THE  numbers  in  parentheses  refer  to  the  passage  in  the  works  of  the  author 
cited.  The  other  numbers  give  the  page  in  this  tract.  An  added  n  refers  to  a 
note. 


Academy,  on  Aspiration,  35  n.  CICERO  (continued) 

BARTHOLOMEW,  title,  2  n.  —  on  the  natural  feeling  of  unedu- 

BLAIR,  title,  i  n.  cated    people    for    long    and    short 

—  (P  95)>  refers  to  Lachmann  on  Lu-  quantities  and  high  and  low  pitch 
cretius,  44  n.  (ibid.  §  173),  App.   N,  p.   125  ;  and 

—  (P-  99)>  °n  transitional  muffled  in,  how  to  read  the  same,  108,  109. 

46  n.  —  on   quantitative  rhythm  in  prose, 

BONAPARTE,  Prince  Louis  Lucien,  his  and  on  the   resemblance  of  Greek 

rule  for  "energetic"  Italian  conso-  lyrics  and   Latin  comic  senarii,  to 

nants,  54  n.  prose  rhythms  (ibid.  §§  183 — 4)  ;  App. 

CANNING,   his  Needy  Knifegrinder,  O,   p.    125  ;   and  how  to  read  the 

75  n.  same,  109. 

CATULLUS,  on  inserted  h  (Odes  Ixxxii.  —  feet  to  be  measured  by  syllables 

or  Ixxxiv),  35  «.    _  not  intervals  (ibid.  §  194),  25  n. 

—  has  written  pure  iambics  (iv.  xxvii.),  —  on  regulation  of  prose  rhythm  by 
76.  quantity  (ibid.  §  194 — 5),  80. 

CICERO  :—  —  on  the  oratorical  effect  of  rhythmic 

—  allows  simple  feet  to  be  of  more  than  collocation  of  words  in  prose  (ibid. 
three  syllables,  23.  §  214—5),  App.  P,  p.  126 ;   how  to 

—  to  Terentia  and  Tulliola,  88.  read  the  same,  109,  1 10. 

—  on  natural  melody  as  shewn  by  Latin  —  on  the  nature  of  Gracchus's   Ora- 
accent  (OOrdtor,    §§    57  —  9).   App.  tory  (De  OOrdtore,  book  iii.  §  214), 
M,  p.  124 ;  how  to  read  the  same,  112. 

108,  109.  —  on  the  story  of  Gracchus's  piper 

—  quotes  Lucllius  (ibid.  §  149)  42.  and   its  theory  (ibid.   §§   225 — 228), 

—  on  running  words  together,  slurred  App.  R,  p.  128  ;  and  how  to  read  the 
vowels,  open  and  gaping  vowels,  and  same,  in. 

poetic  use  of  open  vowels  (ibid.   §  CORSSEN,  title,  i  n. 

150,  152),  App.  Q.,  p.   126;  how  to  —  final  m  omitted  in  inscriptions  (I. 

read  the  same,  no,  in.  267 — 271),  47,  48. 

—  on  various  effects  of  running  words  —  on  ejus  as  eijus  (I.  301 — 3),  66  n. 
together,   omitted    consonants,    &c.  —  on  Betonung,  or  Accentuation  (II. 
(ibid.  §i  53 — 162), 'referred  to  but  not  794 — 892),  9  n. 

cited,  in  App.  Q,  p.  127.  —  on  distinction  of  words  by  differ- 

—  on  cun  nobls  (ibid.  §  154),  55  n.  ence  of  accent  (II.  808),  79  n. 

—  vowels  in  com,  in  long  before  fol-  —  on  accentual   hexameters   in  third 
lowing  f,  s,  but  short  otherwise  (ibid.  century  A.D.  (II.  942),  84  n. 

§  159),  17  n.  CURWEN,  title,  12  n. 

—  used  to  omit  h,  m,  in  pttkros,  &c.  —  on  rhythm,  12  n  ; 
(ibid.  §  1 60),  35  n.  —  on  setting  pattern,  14  n. 

—  there  must  be  no  verses  in  prose  DANIEL,  Thesaurus  Hymnologicus,  39. 
writing  according  to  Aristotle  {ibid.  DIEZ,  on  final  nasals,  52  n. 

§§  170—173),  9  n.  DINDORF,  his  edition  of  Euripides,  28  n. 


INDEX  OF  A  UTHORS  CITED. 


DIONYSIUS  of  Halicarnassus  ;  identity 
of  accent  and  alteration  of  musical 
pitch  (jrepi  avvtito-ewg  bvo/jLardav,  ch. 
xi.),  27  11. 

DONATUS,  on  mussitare,  58  n. 

ELLIS  (ROBINSON),  on  the  present  state 
of  the  pronunciation  of  Latin  in 
English  schools  and  colleges,  p.  v. 

EURIPIDES,  (Orestes  140—3),  28.  n. 

FAVARGER,  French  syllabication,  19  n. 

HALDEMAN,  title,  i  n. 

—  on  nasalisation   of  final   w,  (Lat. 
pron.  art.  105),  62  n. 

HORACE  : — 

—  slurs  duwi)  turn,  num,  cum,  quum, 
sum,  nam^  quatn,  rem,  64. 

—  dedication  of  his  odes  to  Maecenas, 
(OOdae,  i.  i,  i— 6,  29 — 36),  App.  E. 
p.  120  ;  and  how  to  read  the  same, 
102 — 104. 

—  Leuconoe  recommended  not  to  peer 
into  the  future  (OOdae,  i.  n),  App. 
F.  p.   121 ;  how  to  read  the   same, 
104 — 105. 

—  (OOdae,  3,  i,  5),  read  for  final  m,  69. 

—  the    "just"   man    {OOdae,    iii.    3. 
i — 8),  App.  K,  p.  123  ;  how  to  read 
the  same,  106,  107. 

—  the    usurer's    anticipated   country 
pleasures    \Epodl,   2,    i — 8.   23 — 24. 
29 — 36.    67—70),  App.    L,   p.    123  ; 
how  to  read  the  same,  107 — 108, 

—  beginning    and    end    of   hymn    to 
Phoebus  and  Diana  (Carmen  Saecii- 
Idre,  i — 8.   73 — 76),  App.  I.  p.  122  ; 
how  to  read  the  same,  106. 

—  Carmen  SaecttZdre,  phonetic  tran- 
scription of   English   reading,    sup- 
posed to  be  made  by  Maecenas  redi- 
vlvus,  74  n. 

—  no  one  contented  with  his  lot,  (Sat. 
i.  i — 22),  App.  D.  p.  1 20  ;  and  how 
to  read  the  same,  99—101. 

—  dum  slurred  and  positional  in  one 
line  (Sat.  i.  5,  13),  43. 

—  does  he  use   mtm   short  before   a 
vowel  (Sat.  ii.  2,  28)  ?  65,  127. 

—  uses  agit-  long  before  a  vowel  (Sat. 
ii.  3,  260),  65. 

—  use/«/z«  (A.  P.  65),  16  n. 

—  his  remark  on  eyes  and  ears  (A.  P. 
180),  does  not  apply  to  reading  and 
speaking,  45  n. 

—  on  .the  introduction  of  spondees  into 
iambics  (A.  P.  251—262,  77  n. 

—  cannot  scan  Plautus(^l.  P.   270 — 
T  4),  75-    . 

JOBERT,  title,  19  n. 

—  on  French  syllabication,  19  n. 


KENNEDY,  title,  i  n. 
KEY,  title,  30  n. 

—  denies  acute  accent  before  enclitic, 
30  n. 

—  his  views  of  accent  and  of  Quin- 
tilian's  non-accented  prepositions  and 
relatives,  32  n. 

—  notes  that  later  Latin  grammarians 
speak  of  the  laws  of  accent  in  the 
past  tense,  32  n. 

LACHMANN,    on    coopertus,    &c.   (on 

Lucretius,  p.  136),  44  n. 
LUCILIUS,    slurred   compostaeut,   tes- 

serulaeomnes,  42. 

LUCRETIUS,  his  use  of  open  um,  53. 
MEYER,    P.,    quotes  old    French  on 

school  Latin,  32  n. 

—  on  French  nasality,  62  n. 
MOZART,  extracts  from  his  Nozze,  38. 
MUNRO,  title,  i  n. 

—  admits  acute  accent  before  enclitic, 
30  n. 

OVID,  commencement  of  Penelope's 
epistle  to  Ulysses,  (Her.  i,  i — 10), 
App.  H.  p.  122,  and  how  to  read 
the  same,  105-106. 

PALMER  and  MUNRO,  title,  i  n. 

PHAEDRUS,  his  prologue,  78. 

PRISCIAN  on  obscure,  open,  and  mid- 
dle m,  58  n. 

—  on  distinguishing  words  by  differ- 
ence of  accent,  79  n. 

PROPERTIUS,  while  Ponticus  writes 
heroics,  keeps  to  erotics  (Eleg.  7, 
i — 8).  App.  G.,  p.  121  :  how  to  read 
the  same,  105. 

PROUT  (FATHER),  his  Latin  rhymes 
on  eggs  and  bacon,  86. 

QUINTILIAN,  from  his  Instittitio 
OOrdtona. 

—  on  Cicero's  aijo  maija.  (i,  4,   n) 
66  n. 

—  quantity  of  syllables  changed  poeti- 
cally (i,  5,  1 8),  17  n. 

—  variability  of  h  (i,  5,  19 — 21),  36  n. 

—  prepositions  and  relatives  are  with- 
out accent  when  they  are  added  on 
to  following  word  (i,   5,  27),   30 », 
32  n. 

—  the  position  of  the    accent   alters 
with    the   quantity  of  the    syllable 
before,   mute  and  liquid  (i,  5,  28), 
17  n. 

—  rule  for  the  place  of  the  accent  (i, 

5>  3°-  31)  31  n-' 

—  on  marking  length  of  vowels   (i, 
7,  i — 3),  16  n. 

—  ad  and  at,  cum  and  ^wum  (i,  7,  5), 

44     5 


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