:
CD
LaL.Gr Bennett, Charles Fdwin
The quantitative reading of
Latin poetry.
UL.O
THE QUANTITATIVE READING
OF LATIN POETRY
BY
CHARLES E. BENNETT
PROFESSOR OF LATIN IN CORNELL UNIVERSITY
ALLYN AND BACON
Boston ant) <f)icago
COPYRIGHT, 1899, BY
CHARLES E. BENNETT.
Nortoooto tfrrBB
J. a Cuihlnj? & Co. - Berwick & Smith
Norwood MAM. U.S.A.
PREFACE
THIS pamphlet is published in accordance with a plan
formed several years ago. Few pupils learn to read
Latin poetry with ease and enjoyment. What ought to
be a pleasure seldom rises above the dreary routine of a
mechanical task. The writer feels justified by his own
experience in asserting that something more than this
much more in fact is easily within the reach of all
who will faithfully carry out the simple precepts laid
down in the following pages. It is this conviction
which has led to the publication of this little book.
The rules for quantity, along with nearly all the
definitions of the leading terms of metre and prosody,
have designedly been omitted. These are easily accessi-
blo in any Latin grammar.
C. E. B.
I-IIIACA, March, 1899.
lii
THE QUANTITATIVE READING OF
LATIN POETRY.
PART I.
THE DACTYLIC HEXAMETER.
1. GENERAL CHARACTER OF LATIN POETRY.
poetry, as a rule, is based on stress, i.e. on a
regular succession of accented and unaccented syllables.
The versification of
This is the forest primeval, the murmuring pines and
the hemlocks,
depends entirely upon this alternation of accented and
unaccented syllables, and the same thing is true of all
ordinary English verse. This basis of English poetry,
mon-nviT, is a result of the very nature of the English
language. Like all languages of the Teutonic group,
our English speech is characterized by a strong word-
accent.
in verse, on the other hand, was l>asc<l on </imnfltf/;
a lin- of Latin poetry consisted of a uvular succession
of long and short syllables, i.e. of syllables which it took
1
2 General Character of Latin Po< ////.
a longer short time to pronounce. This basis of Latin
poetry, as in the case of English poetry, is strictly in
conformity with the character of the spoken language.
For classical Latin was not a language in which there
was a strong word-accent. The word-accent, in fact,
must have been extremely weak. Different languages
differ very greatly in this respect, and we ought to bear
this fact in mind in thinking of Latin. In Latin, word-
accent was so weak that it could not be made the basis
of versification as it is in English, while, on the other
hand, quantity was a strongly marked feature of the
spoken language. Thus we see how it came about that
quantity was made the basis of Latin verse, and why
accent was not.
\Ve are, then, to conceive of a line of Latin poetry as
consisting simply of a regular arrangement of long and
short syllables, nothing else. To read Latin poetry,
therefore, it is necessary simply to pronounce the words
with the proper quantity. This takes some patience and
practice, but it is easily within the power of every pupil
of Latin who can read Latin prose with quantitative
accuracy. It is in Latin as in English : Any one who
can read prose with accuracy and fluency has no difficulty
in reading poetry. The poet arranges the words in such
wise that they make poetry of themselves, if they are
only properly pronounced. No other kind of poetry was
ever known in any language. No other is conceivable.
Of course it necessarily takes time for the student's
ear to become sensitive to quantitative differences and
to acquire a feeling for the quantitative swing of Latin
Ictu*. 3
verse. Vet, with patience and abundant practice in care-
ful pronunciation, the quantitative sense is bound to
develop. At all events, no other method of reading
should be attempted, for no other is right.
2. ICTUS.
In Latin there are four chief kinds of feet :
_ w Trochee, _ w w Dactyl,
w _ Iambus, w w _ Anapaest.
In every one of these feet the long syllable naturally
stands out with greater prominence. This quantitative
prominence is called ictus. 1 Thus in the Dactyl the ictus
or quantitative prominence rests upon the first syllable.
\Yhenever a Spondee is substituted for the Dactyl, as is
often the case, the ictus or quantitative prominence is
naturally felt as resting upon the first long of the
Spondee.
Let the pupil, then, remember that ictus is not an
accent, as sometimes taught, but is simply the quantita-
tive prominence of a certain syllable of every foot. It
may take time for the pupil to appreciate the full force
of this definition ; but just so soon as a sense is acquired
for the quantitative, character of Latin poetry, the natu-
ralness of the above conception of ictus will be sufficiently
apparent
1 Thr jn-titi.-.-ition of this di-tinition \\v.\\ !> found in an articlo by
tin- urii.-r, publislird in Hi,- .:ttrniiliiS r/iill:/!/, V.-l. MX,
No. 76.
3. WORD-ACCENT.
In reading Latin poetry, the ordinary accent of the
words si ion Id not be neglected. But, as we have already
seen above, in 1, the word-accent in Latin was exceed-
ingly slight. We almost invariably accent Latin words
altogether too strongly. As a result we destroy the
quantity of the remaining syllables of a word. Tims,
in a word like evitabatur, we are inclined to stress the
penultimate syllable with such energy as to reduce the
quantity of the vowel in each of the three preceding
syllables. In this way, the pupil says 8-vI-tS-ba-tur. Such
a pronunciation is a fatal defect in reading. What we
ought to do is to make the quantity prominent and the
accent very slight. Where this is done, the accent will
be felt to be subordinate to the quantity, as it ought to
be, and as it must be if one is ever to acquire a feeling
for the quantitative character of Latin poetry. If the
quantity is not made more prominent than the accent,
the accent is bound to be more prominent than the quan-
tity, which will be fatal to the acquisition of a quantita-
tive sense for the verse.
4. SPECIAL CAUTIONS TO BE OBSERVED IN ORDER
TO SECURE CORRECT SYLLABIC QUANTITY IN
READING.
Inasmuch as Latin poetry was based on the quantity
of syllables, it is obvious that the greatest care must be
taken in the pronunciation of the words with a view to
securing an absolutely correct syllabic quantity. Other-
n
rlu metrical (i.<'. quantitative) character of the verse
is violated, and the effect intended by the poet is lost.
To ignore the proper quantity of the syllables is as
disastrous in a line of Latin poetry as it would be in
.ish poetry to misplace the word-accent. If one were
t read the opening line of Longfellow's Evangelinej for
example, as follows :
This fs the forest primeval,
the residt would be no more disastrous than to read a
line of Latin poetry with neglect of the quantity.
In reading Latin verse, there are two classes of errors
t<> which the student is particularly liable, either one of
which results in giving a wrong syllabic quantity.
CLASS FIRST.
In ' Open ' 1 Syllables.
Here the quantity of the syllable is always the
same as the quantity of the vowel. Thus, in ma-ter
the first syllable is long; in paVter, the first syllable is
short.
This beinjj so, it is imperative that the pupil should
in -open' syllables scrupulously observe the quantity of
tin- vowel. If he pronounces a short vowel long, or a
hurl, lie thereby gives a false quantity to
tin- .syllable, and thus wrecks the line completely. The
M ' syllable is OIK- whose vowel is followed by a single ron-
:.y :i mutt- \\iili 1 MI- n. Tl, <>iisiui:iiif (or tin- mute
"innl with tli.- v..\\, 1 ,,f the full,, \\in- syllable, thus
leaving the previous yll:ii.!.- '<>icn.'
6 Sj' ><ifi"itit in
pupil, therefore, must know the quantity of every vowel,
and must pronounce in the light of his knowledge. He
must not say gero, tero, sero (for ggro, t8ro, s8ro) ; nor must
he say pater, ager, nisi, quod, quibus, ingenium, es ('thou
art'), etc. One such error in a verse is fatal to its met-
rical structure, and. the pupil who habitually commits
such errors in reading is simply wasting valuable time.
CLASS SECOND.
In ' Closed 'i Syllables.
It is a fundamental fact that a ' closed ' syllable is long.
But in order to be long it must be actually close<l in i>m-
n n, irint /'<>. Eight here is where the pupil is apt to err.
He fails to make the syllable 'closed/ i.e. he does not
join the first of the two or more consonants to the jn-c-
ceding vowel, but joins all of the consonants with the
following vowel. He thus leaves the preceding syllable
'open.' Hence, if the vowel itself is short, the syllable
by this incorrect pronunciation is made short, where it
ought to be made long. Thus the student is apt to say
tem-pe-sta-ti-bus where he ought to say tem-pes-ta-ti-bus,
i.e. he joins both the s and the t with the following
vowel, where he ought to join the s with the preceding
1 A ' closed ' syllable is one whose vowel is followed by two or more
consonants (except a mute wiih 1 or r). Tin- lirst of the two (or more)
consonants is rr-nlarly joined iii pronunciation with the preceding
vowel, thus dosing the preceding syllable. This is the real significance
of tin- common rule that a syllable is loni; \vlicn a short vowel is fol-
lowed by two consonants. It is because one of the consonants is joined
in l In- in-cct-diii:; \tiwel, thus clo>in- tin- s\ liable.
Special Cautions in Readituj. 7
vowel (thus making a 'closed' syllable), and only the t
with the following vowel. 1
Errors of the kind referred to are so liable to occur
that it seems best to classify them by groups :
(a) The commonest class consists of those words which
CM HI tain a short vowel followed by doubled consonants (pp,
cc, tt, etc.), words of the type of ap-parabat, ac-cipiebam,
at-tigerant, ges-serunt, ter-ra-nun, an-noram, ad-diderat, flam-
manun, excel-lentia, ag-gerimus, etc. In Latin, both of the
doubled consonants were pronounced, one being com-
bined with the previous vowel (thus closing the syllable
and making it long), one with the following vowel. But
in English we practically never have doubled consonants.
We write them and print them, but we do not pronounce
them. Thus, we write and print kit-ty, fer-ry, etc., but we
do not pronounce two t's or two r's in these words any
more than in pity, which we write with one t, or in very,
which we write with one r. Now, in pronouncing Latin
the pupil is very apt to pronounce the doubled consonants
of that language as single consonants, just as he does in
English. Thus he naturally pronounces the words above
^ivcn. not ap-pa-ra-bat, etc., but 5-pa-rabat, S-cipiebam,
i-tige-rant, gg-serunt, t&-ranun, a-norum, &-diderat, fla-marum,
exc$-lentia, a-gerimus. In other words, the pupil pro-
nounocs "nly one consonant, where he ought to pro-
nounce two, and that one consonant he joins with the
following vowel, He thus leaves the preceding syllable
1 This <i(irtrinr, to be sure, rimlni'lids tin- ruli-s irivcii in irr:iiinn:irs
for division <.f w.mls into syll.-iMcs : Itut those rules apply <>nl\ to \\ rit-
i"t to actual utterance. See Benin n. ;
8 Special Cautions in Reading.
'open.' /.' . lu> niakrs it short where it ought to be
long.
The effects of this pronunciation are disastrous in
reading Latin poetry, for these doubled consonants occur
on an average in every other line of Latin poetry.
(6) The second group consists of words in which a
short vowel is followed by sp, so, st ; also by scl, scr, str.
In English, when the vowel following these combinations
is accented, we usually combine the consonants with the
following vowel. Thus, we say a-scribe, a-stounding, etc.
Now, the Latin pupil is almost certain to do the same
thing iu pronouncing Latin, unless he is on his guard,
i.e. he is likely to say a-spersus, i-storum, tempe-stlvus,
coru-scabat, mi-scuerat, magi-strorum, a-scripsit, etc. What he
ought to do is to join the s with the preceding vowel
(thus making the syllable closed, and long), pronouncing
as-persus, is-tomm, tempes-tivus, corus-cabat, mis-cuerat, magis-
trorum, as-cripsit, etc. By joining all the consonants to
the following vowel he leaves the preceding syllable
open. Hence, when the preceding vowel is short, the
syllable also becomes short. This destroys the metre
of the line.
(c) The third group consists of words containing a
short vowel followed by r and some consonant. In our
common English utterance we are very apt to neglect
the r. This tendency is all but universal in New Eng-
land, and is widely prevalent in the Middle States. A
a result, the pupil is apt to pronounce Latin with tin-
same neglect of the r as he habitually practises in tin-
vernacular. This omission occurs particularly where
Special Cautions in Reading. 9
the preceding vowel is unaccented, e.g. in portarum, ter-
minonim, etc. The pupil is likely to say po(r)-tanim.
te(r)-minorum, i.e. he makes the preceding syllable ' open '
and short, where it ought to be ' closed' and long. In
order to close the syllable, a distinct articulation of the
r is necessary. AVluMi this is overlooked, the quantity
of the syllable is lost and the metrical character of the
line is destroyed.
((/) The fourth group of words consists of those ending
in a, preceded by a short vowel and followed by words
beginning with c, p, t, v, m, n, f. In English we are very
apt to join the final s to the initial consonant of the
following word. Thus we habitually say grievou stale
for- grievous tale ; Lewi sTaylor for Lewis Taylor, etc. There
is great danger of doing the same thing in Latin. Expe-
rience teaches that pupils often say urbl sportas for urbis
portas; capl scanem for capis canem; even urbl svici for
urbis vlci, etc. Care must be taken to join the final s
clearly with the preceding vowel. Otherwise the pre-
ceding syllable will be left 'open' and short where it
ought to be ' closed' and long.
The foregoing cautions are not mere theoretical inven-
tions. They are vital, and are based on experience of
the errors which we as Knglish-sprakintj people natu-
rally commit when we pronounce Latin. It is only by
a conscientious observance of the principles above laid
down that anyone can read Latin poetry quantitatively;
and unless we do so read it, we necessarily fail to repro-
tme : huractei;
10 Common
5. COMMON SYLLABLES.
As is well known, when a .s7/o/v vowel is followed by a
mute with 1 or r (pi, cl, tl ; pr, cr, tr ; etc.), the syllable is
common, i.e. it may be either long or short in verse at
the option of the poet. The explanation of this pecu-
liarity is as follows:
In a word like patrem, for example, it was recognized
as legitimate to pronounce in two ways ; either to com-
bine the tr with the following vowel (pa-trem), thus
leaving the preceding syllable 'open' and short, or to
join the t with the preceding vowel (pat-rem), thus closing
the preceding syllable and making it long. Hence, in
the case of common syllables, the quantity in each ijidi-
vidual instance depends upon the mode of pronunciation,
i.e. the mode in which we divide the syllable. In read-
ing Latin poetry, therefore, it will bo necessary for the
pupil to observe how the poet treats each common syl-
lable, and to pronounce accordingly.
6. ELISION.
The rule for Elision, as stated in our Latin grammars,
is in substance as follows: "A linal vowel, a final diph-
thong, or m with a preceding vowel. 1 is regularly elided
before a word beginning with a vowel or h."
The exact nature of Elision, as observed by the ancients
in reading Latin verse, is still very uncertain. The
Romans may have slurred the words together in some
i The elision of filial m with a preceding vovvol is hiiineiinn-s culled
Kcthlipsis.
Verses for Practice. 11
way, or they may have omitted the elided part entirely.
In practice, the latter procedure is probably the wiser
one to follow. 1
7. VERSES FOR PRACTICE.
In arranging the following examples for practice, the
aim has been to proceed from the easier to the more
difficult types of verse. The pupil is advised to bear
in mind the four following fundamental principles :
1. Observe the quantity of each syllable scrupulously,
taking care to observe the division of the syllables as
indicated by the hyphens, joining the consonant before
tin* hyphen with the preceding vowel, and so closing the
syllable.
2. Make the word-accent light ; subordinate it care-
fully to quantity.
3. Endeavor to cultivate the quantitative sense, i.e. to
feel the verse as consisting of a succession of long and
short intervals.
4. Do not attempt to give special expression to the
ictus in any way. The ictus will care for itself if the
syllables are properly pronounced.
1 The writer of this little pamphlet has frequently been favored by
pi-'inii)riit iiirriiitf,' with practical illustrations of the
im-thi.,1 of reading recommended by them ; but these experiments have
invariably seemed t.> result in producing more syllables than the verse
demands. For example, in a verse like
Yi\ , vit.
the second foot has inevitably taken the form o _ _, where slurring
WM attempted, while in a verse like
Tan-dciii ! -..r ri | ,11,- i ni|inl-ca rejfu
rtb foot, by slurring, has become o.
1- x for
A. YKKSKS CONTAINING NO ELISIO
I. The 'ictus' falls upon an accented syllable in all the
feet.i
Dlg-num | men-te do|mo-que le'gen-tis ho|nes-ta Nero-nis
La-bi-tur | uno-ta ca[r!-na per | ae-quo-ra | ca-na ce|lo-cis
Ster-ni-tur | ae-quo-ris | un-da re|sol-vi-tur | ae-the-ris | uin-bra
Sed ta-men | an-ni | jam lajbun-tur | tem-po-re | to-to
n. The 'ictus' falls upon an accented syllable in all the
feet but 0126 (usually the third).
Tan-tae | mo-lis erat Roma-nam | con-de-re | gen-tem
Ta-li-a | vo-ce reiert : 4 | ter-que qua|ter-que be ati
Ae-quo-ra | tu-ta sijlent ; turn | sil-vis | scae-na co|rus-cls
Oon-sti-tit | hie arcum-que majnu ce-lejris-que sa'git-tas
Pars in | fru-sta se;cant ve-ri|bus-que tre|men-ti-a | fi-gunt.
Hie pi-e|ta-tis hojnos? Sic | nos in | scep-tra repo-nis?
Et jam jus-sa fajcit, po mint-quo fe|ro-ci-a | Poe-nl.
Oon-ju-gis, | o-ra mo|dis at|tol-lens | pal-li-da | ml-ris
Tro-jae | no-men ijit di|ver-sa per | ae-quo-ra | vec-tos
Nam-que vijdebat ujt! bel|lan-tes | Per-ga-ma | cir-cum
Lo-ra te|nens ta-men ; | huic cer|vlx-que co'mae-que tra'hun-tur
An-the-a | Ser-ges|tum-que vijdet for'tem-que Olo|an-thum
re^r-na, no|vam cui | con-de-re | Jup-pi-ter | ur-bem
Nee pi-e|ta-te fu|it, nee | bel-lo | ma-jor et | ar-mls.
Scin-dit | se nujbes et in | ae-tlie-ra | pur-gat a per-tum
Prae-mi-a | dig-na fe'rant. Quae | te tarn | lae-ta tujlerunt
Quis te | na-te de a, per | tan-ta pe'ri-cu-la | ca-sus
1 Verst-s of this type are extremely rare.
I', /> > Containing X FJixi^ns. 13
Vo-ci-bus | et ve-re or, quo | se Ju:no-ni-a | ver-tant
In-star | mon-tis equum dijvl-na | Pal-la-dis | ar-te
Hue delec-ta vi runi sorti-tl | cor-po-ra | fur-tim
Olas-si-bus | hie lo-eus ; | hie a-ci|e cer ta-re so|le-bant
Et. si | fa-ta dejum, si | mens non | laeva fu|isset
Vel-li-tur | huic atro ll quun-tur | san-gui-ne | gut-tae
Ac-ci-pit | e-gressl ve-ne|ra-mur Apol-li-nis | ur-bem
Glo-ri-a, | quern faljsa sub | pro-di-ti one Pelas-g!
Pro-tra-hit | in me-di|os ; quae | sint e-a | nu-mi-na | di-vom
Dix-e-rat. | Il-le dolls lu struc-tus et ar-te Pe|las-ga
Nam si | ves-tra ma mis vi-o las-set | do-na Miner-vae
Cre-di-ta | res, capti-que do;ils la-cri|m!s-que coac-tis
Sub pe-di bus-que de]ae cli-pe I-que sub | or-be te|gun-tur
Et Me-ne.la-us, et | ip-se do|ll fa-bri'ca-tor E pe-os
Pul-ve-re, | per-que pe^des trajjec-tus | lo-ra tu|men-t!s
Il-le ni:hil, nee | me quaeren-tem | va-na mora-tur
Sac-ra su os-que ti|bi com|men-dat | Tro-ja pe|na-tis
In-ci-dit | aut ra-pi|dus mon ta-no flu-mi-ne | tor-rens
Stric-ta pa|ra-ta ne el ; vix | pri-m! | proe-li-a | temp-tant
Plu-ri-ma | per-que vi|as ster|nun-tur iner-ti-a | pas-sim
Lu-mi-na | nam te-ne|ras ar|cS-bant | vin-cu-la j pal-mas
As-pi-ce | bis s!nos lae!tan-tis | ag-mi-ne | cyc-nos
Vir-gi-nis | os ha-bi tum-que ge|rens et | vir-gi-nis | ar-ma.
As-pe-ra | turn po-si|tls mljtes-cent | sae-cu-la | bel-lis.
Ju-li-us | & mag:n5 d|mis-8um | no-men I]u-lus.
Ter-ti-a | dum La-ti 6 re*g| nan-tern | vi-de-rit | aes-tas
Tem-pe-ret | & la-cri|mls ? Et | jam nox j u-mi-da | cae-15
Quo fre-uii tus vo-cat | et sub|la-tus ad | ae-the-ra | cla-mor
14 - X fa
Fla-gi-tat | et mi-hi | jam inul tl crude-le ca|ne-bant
Nee non | et Ty-ri 1 per | li-mi-na | lae-ta fre|quen-tes
Stl-pant | et dul|ci dis|ten-dunt | nec-ta-re | eel-las
Oon-sti-tit | et Li-by|ae de, fix-it | lu-mi-na | reg-nls.
Dl-vi-dit | et dic|tis mae|ren-ti-a | pec-to-ra | mul-cet
Lu-na pre|mit sua|dent-que ca|den-ti-a | si-de-ra | som-nos
III. The 'ictus' falls upon an accented syllable in all the
feet but two.
Un-de per | 6-ra no|vem vasjto cum | mur-mu-re | mon-tis
Trans-fe-ret | et Lon|gam mul|ta vi | mu-ni-et | Al-bam
Hos-pi-ti|o Teujcris, ne | fa-ti | nes-ci-a | Di-do
Ac-ci-pit | in Teu|cros a-m'mum mentem-que be|nlg-nam
Pol-lu-it | o-re da|pes. So-ci|is tune | ar-ma ca|pes-sant
Nu-da ge|nti no|do-que si|nus col|lec-ta flu|en-tis
Et quo | sub cae|lo tan|dem qui-bus | or-bis in | o-ris
Turn Ve-nus : | ' Haud e-qui|dem ta|li me | dlg-nor ho|uo-re
Vir-gi-ni|bus Ty-ri;is mos | est gesjta-re pha|ret-ram
Sed f!|nes Li-by|cl, ge-nus | in-trac|ta-bi-le | bel-lo
In-ci-pit | et dojno diivom gra|tis-si-ma | ser-pit
Et ma-gis | at-que ma|gis, quam|quam se|cre-ta pa|ren-tis
In se-ge|tem ve-lu|tl cum | flam-ma fu|ren-ti-bus | aus-tris
Prae-ci-pi|tis-que trajhit sil|vas, stu-pet j in-sci-us | al-to
Sac-ra ma|nu vic|tos-que de|os par|vum-que ne|po-tem
Quo res | sum-ma lo|co Pan|thu? Quam | pren-di-mus | ar-cem
Glo-ri-a | Teu-cro|rum; fe-rus | om-nia | Jup-pi-ter | Ar-gos
Fun-dit e|quus vic|tor-que Si|non in]cen-di-a | mis-cet
Mi-li-a | quot mag|nis um|quam ve|ne-re My|ce-u!s
V rtei t\>nt<iinimj No Elisions. 15
Por-tanun vi-gi|les et | cae-co | Mar-te rejsis-tunt
Lae-ta fajcit ; spo-lijis se | quis-que re|cen-ti-bus | ar-mat
Ad caeluin ten|dens arjden-ti-a | lu-mi-na | frus-tra
Li-men e|rat cae|cae-que fo|res et | per-vi-us | u-sus
Nos pa-vi dl tre-pi|da-re me|tu cri|nem-que fla|gran-tem
IV. The -ictus' fails in three feet to fall upon an
accented syllable.
Tri-gin ta magjnos vol|ven-dis | men-si-bus or-bis
Cum so-ci is ar dent a-ni|ml ; fu-ror | i-ra-que | men-tern
Trans-tu-lit | in-cen|sa Da-na|i do-mi|nan-tur in | ur-be
Ar-du-us | ar-ma'tos me-di]ls in | moe-ni-bus | ad-stans
In-fellx qul | nou spon'sae praejcep-ta fu|ren-tis
Et ge-ner | aux-i-li|um Pri-a|mo Phry-gijbus-que fejre-bat
In-ci-pio su-per | his: Ju-ve|nes, for|tis-si-ma | frus-tra
U-na sajlus vic|tis nuljlam spe>a-re sa|lu-tem
Fau-ci-bus | ex-spec|tant siccis, per | te-la, per | hos-tis
Fl-da sa'tis, sen sit me-di|os de|lap-sus in | hos-tis
Ob-sti-pu|it ret|ro-que pe|dem cum | vo-ce re|pres-sit
Ster-ni-mus. | As-pirat pri|mo for|tu-na la|bo-ri
Ap-t6|mus: do-lus | an vir|tus, quis in | hos-te re|qul-rat?
Va-di-mus | im-mixltl Da-na|is baud | nu-mi-ne | nos-tr5
Ec-ce tra|he-ba|tur pas|sl8 Pri-a|me-i-a | vir-go
Ad-versI rup|t5 ceu | quon-dam | tur-bi-ne | ven-ti
Et Da-na'um so-li|tae na'ves et A'cha-i-a | cas-tra
Junc-ta|ras ta-bula-ta da|bant con|vel-li-mus | al-tls
Ex-sul|tat tells et | iQ-ce co'rus-cus a e-na
None po-Bijtls no-vus | ex-u-vi is ni-ti dus-que jujven-ta
16 Verses for Practi', .
V. The 4 ictus' fails in four feet to fall upon an
accented syllable.
Ac-ci-pi|ens so-ni|tuin sax|l de | ver-ti-ce | pas-tor
In-si-di|ae jam | De-i-pho|bl de-dit | am-pla ru|l-nam
Ex-e git cae|cos ra-bi|es ca-tu|ll-que re|lic-t!
Ap-parent pri|m! cli-pe|os men|tl-ta-que | te-la
Ag-gres|s! fer|ro cir|cum qua | sum-ma la|ban-tls
Bar-ba-rijco pos|tes au|ro spo-li|!s-que su|per-bl
Per-soljvant gra|t!s digjnas et | prae-mi-a | red-dant
Op-ta|bam pri|mum monjtis prilmum-que pe|te-bam
De-voljvunt arli,i stric|tls mu|cron-i-bus | 1-mas
Im-me-ri|tam vl|sum su-pe|ris ce-ci|dit-que su|per-bum
B. VERSES CONTAINING ONE ELISION.*
I. One Connict. 2
Lon-gi-us | et volvens faior uin ar can-a mo|ve-bo
Nul-la tu'a-r um au!di-ta mi'hi ne-que | vl-sa so|ro-rum
Turn ce-le|ra-re fugam pa-tri|a-qu e ex|ce-de-re | sua-det
Im-mi-net | ad-ver|sas-qu e as|pec-tat | de-su-per | ar-ces
Sic a-it | at-qu c a-ni|mum pic|tu-ra | pas-cit i|na-m
Mul-ta gejmens lar|go-qu c u|mec-tat | flu-mi-ne | vol-tum
Us-quam | jus-ti-ti a | est et | mens si-bi | con-sci-a | rec-ti
Per tot | duc-ta vi|ros an|t!-qu a ab o|ri-gi-ne | gen-tis
U-rit ajtrox Jun | et sub | noc-tem | cu-ra rejcur-sat
1 On tlie method of rc.-ulin.u' cliil<-<l s\ llahles, see above, p. 10.
2 The expressions 'one conflict,' 'two conflicts,' etc., are used as
briefer ways of indicating that the 'ictus' fails in one or more f.
fall upon an accented syllable.
tses Containing One Elision. 17
Ne qua | sci-re do^os me-di|us-v e oc|cur-re-re | pos-sit
Aut te-re bra-re ca vas u-ter 1 et tempjta-re lajteb-ras
Aut haec | in nosiros fa-bri ca-t a est | ma-chi-na | mu-ros
Sen ver|sa-re do|los, seu | cer-t ae oc|cum-be-re | mor-ti
Id-qu e audl-re sat | est? Jam | du-dum | su-mi-te | poe-nas
Mit-ti-mus | is-qu e a-dy tis haec | tris-ti-a | dic-ta re|por-tat
Pro-de-re | vo-ce suja quem'qu am aut op po-ne-re | mor-t!
Vos ae ter-n l ig nes et | non vi-o la-bi-le | ves-trum
'Tes-tor | nu-men' ait ^vos | a-r 1 ^ en^ses-que ne|fan-dl
Fas o dis-se vi ros at qu' 1 om-ni-a | fer-re sub | au-ras
Po-ne le git si-nu at-qu im|mensa vo|lu-mi-ne | ter-ga
Lae-se-rit | et tergo sce-lejra-t 11 " 1 in tor-se-rit | has-tam
Vi-sus ad|es-se mi,hl lar|gos-qu c efjfun-de-re | fle-tus
Vol-ne-ra|qu e il-la ge'rens quae | cir-cum | plu-ri-ma | mu-ros
Fu-ne-ra | post va-ri os ho-mi ( 'num-qu c ur|bis-que la bo-res
Peo-to-ra | si vo bis au|den-t ei " ex|tre-ma cu|p!-do
II. Two Conflicts.
E5-mu-lus | ex-ci-pi|et gen t cin et Ma vor-ti-a | con-det
In-sci-us | atrqu p ul|tro ver bis comjpel-lat a|mi-cls
Con-fli gunt Ze-phy rus-que No|tus-qu e et | lae-tus E]o-!s
Spu-me-us | at-qu c i|mo Ne reus ci-et | ae-quo-ra | fun-do
Pu-di-mus | In-si-di|i8 to|ta-qu c a-gi|ta-vi-mus | ur-be
Tec-t5r um in-ter | se Pri-a|mi pos tes-que relic-tl
Sup-pli-cis | 8-ru-bu it cor pus-qu e ex'san-gue se|pul-chr5
Red-di-dit | Hec-to-re|um mS|qu e in me-a | r6g-na re mi-sit
E sum mo cli-pe I nf- qiu-qu"" 1 uni bo-ne pe|pen-dit
Oui Pyr rhus : 4 re-fe|r6s er g fl baec et | nun-ti-us | I-bis
18 I' rses for /'
Haec finis Pri-a|m! fa|to-r um ; hie | ex-i-tus | il-lum
A-vol|sum-qu e u-me|ris ca-put | et si-ne | no-mi-ne | cor-pus
Ut rejg cm ae-quae|vum crujde-li | vol-ne-re | vi-di
III. Three Conflicts.
Quis cla|d em il-li|us noc|tis quis | fu-ne-ra | fan-do?
Mu-tenms cli-pe|os Da-na|um-qu c in'sig-ni-a | no-bis
Con-se-qui|mur cunclt 1 et den|sis in|cur-ri-nms | ar-mis
Un-di-que col-lec|t' in-va|dunt a|cer-ri-mus | A-jax
Ag-nos|cunt at|qu e o-ra so|no dis|cor-di-a | sig-nant
I-li-a|ci ci-neres et | flam-m a ex|tre-ma me|o-rum
Ni-tunjtur gra-di|bus cli-pe|os-qu e ad | te-la si|nis-tris
Ex-tre|ma j am in | mor-te pa|rant de|fen-de-re | te-lis
E-duc|tam tectis un|d e om-nis | Tro-ja vi|de-ri
Suc-ce|dunt tec|t 6 et flam|mas ad | cul-mi-na | jac-tant
Am-plex|ae-que te|nent pos|tis at|qu e os-cu-la | fi-gunt
Im-mis|si Da-na' | et la|te lo-ca | mi-li-te | com-plent
Cir-cum|dat ne|qui-qu am u-me|ris et in|u-ti-le | fer-rum
Ip-s um au|tem sump|tis Pri-a|mum ju-ve]na-li-bus | ar-mis
Pe-lijdae ge-ni|to-r' il|li me-a | tris-ti-a | fac-ta
IV. Four Conflicts.
Hi is type of verse is rare. Instances are :
Pro-tec|t' ob-(j)i-ci|unt pren|sant fas|ti-gi-a | dex-tris
Ae-raios jam|qu c ex-ci|sa tra-be | fir-ma ca|va-vit
Verses Containing Two Elisions. 19
C. VERSES CONTAINING TWO ELISIONS.
I. One Conflict.
Hie He-ci^b" et na tae ne|qu!-qu ani al^a-ri-a | cir-cum
Nunc mo-re r- Hoc dicens al|ta-ri- a ad | ip-sa tre men-tern
De-se-rue-r omnes de^fes-s 1 et | cor-po-ra | sal-tu
At-qu u-bi | jam pa-tri|ae per|ven-t uin ad | li-mi-na | se-dis
Gunc-ta pater fa;to-qu c ur|gen-t> injcum-be-re | vel-let
In-serjta-b am apians me|qu e ex-tra | tec-ta fe|re-bam
Er-g a-ge | ca-re pa|ter cer|vi-c im|po-ne-re | nos-trae
Me bel|P e tan to di|gres-s um et | cae-de re cen-tl
Om-ni-bus | l-d cm a-ni|mus sce-le|ra-t a exjce-de-re | ter-ra
lions cir|c um et mugi-r e a-dy tls cor ti-na re|clu-sls
II. Two Conflicts.
Sor-te tulit Tro|j am in-cens am et prolap-sa vi den-tem
Nus-qn am a-be|r et tutum pa-trio te ll-mi-ne | sis-tarn
Turn ve|r om-ne mi|hi vi|sum con s!-de-r e in | Ig-nls
De-seen d ac du|cen-te de|6 flam|m am in-ter et | hos-tls
Te-la nequ e ad-ver'so glo-me|ra-t ex | ag-mi-ne | Gra-1
Sus-pens"" 1 et pa-ri ter co-mi |ti-qu c o-ne|ri-que ti men-tern
Ip-s e urbem re-pe|t et cingor ful'gen-ti-bus | ar-mis
Qua gre8|8 um ex-tu-le ram re-pe|t 6 et ve|stl-gi-a | ret-ro
III. Three Conflicts.
In-cum|bSn8 ft|r" at-qu e um|bra com|plex-a Pe|na-tls
et dl|v m am-plex|ae si-mu la-era se de-bant
S-lSp sus Pyr rhl dS | cae-de Po|ll-tes
Oon-ge-ritur pu-|r l et pa-vijdae lon^ 5r-di-ne | ma-tr8
20 I '. r*< < for
IV. Four Conflicts.
Con-fu s am e-ri-piyt men tern. Nam.qu a-vi-a | cur-su
D. THREE ELISIONS.
Verses of this type are rare. Examples are :
E-ru-er e ag-ri-colae cerjta-t im il|l a us-que mina-tur
Pro-mils 1 iil-to r ei " et verbis o-di| a as-pe-ra | mo-v!
Na-t um an!t e o-ra pajtris patrem qu ! ob|tmn-cat ad | a-ras
Ves-tr 1 "" hoc | au-gu-rium ves^ro-qu in | nu-mi-ne | Tro-j a est
Me re-fer ir-ru-e^ant Da-na 1 et tec|t ul " om-ne te|ne-bant
E. SPONDAIC VERSES. 1
Ar-ma!tum-qu e aujro cir|cum-spi-cit | 0-rl|o-na
Oa-ra de um su-bojles, magnum Jo-vis | in-cre| men-turn
Cor-nu-a | ve-lata-r ui " obver-ti-mus | an-tem|na-rum
Prox-i-mus | huic Ion 'go sed | prox-i-mus | in-ter val-lo
Quae ca-put | a cae|ll re-gi o-ni-bus | os-ten|de-bat
In-vltum qui | ser-vat, i'dem fa-cit | oc-ci|den-t!
Con-sti-tit> | at-qu c o-cu'lls Phry-gi- a | ag-mi-na | cir-cum|spex-it
Aut le vis o-cre as len|to du]cunt ar'gen-to
Quae quonjd am in bus|tis aut | cul-mi-ni bus de|ser-tls
In val|l cl " E-ge-ri|ae de scen-di-mus | et spelun-cas
Oum pa-tri bus po-pn'lo-que pe'na-ti-bus | et mag'nis dis
1 Spondaic verses more commonly end \\itli \\ (juadrisvlliiliic \\ord.
as illustrated in tin- lirsl seven examples. The last four ver^rs exem-
plify MtluT metlinds of lerminaliiiL; the line.
Verses En<luj in a Monosyllable. 21
F. SYXIZESIS.
An-tehac | ad nlilum pe-ni tus res | quae-que rejdis-sent
In-fini-t' aetas anteac-t! | tem-po-ris | om-nis
Dein-de quod | ob-scu|ra de | re tarn | lu-ci-da | pan-go
He-redes vo-luit. Quoad | vix-it | cre-di-dit | in-gens
Eu-r um ad | se Ze-phy rum-que vo cat, define | ta-li-a | fa-tur
Ta-li-bus | I-li-o|ne! die tis defix-a La|t!-nus
De-turbat laxat-que foros si-mul | ao-ci-pit | al-veo
Au-rea | com-po-su it spon da me-dijam-que lo|ca-vit
Hoc sat erit. Scio | me Da-na|ls e | clas-si-bus | u-num
6s-cu-la | ll-ba|vit na,tae dehinc | ta-li-a -| fa-tur
G. VERSES ENDING IN A MONOSYLLABLE.*
Ae-o-le | nam-que ti]b! di|vum pa-ter | at-qu c ho-mi]mim rex
Ex-plo ra-re la|bor, mi-hi | jus-sa ca'pes-se-re | fas est
Di ti-bi | si qua pi|os res|pec-tant | nu-mi-na | si quid
Pal-la-dis | aux-i-lils sem|per ste-tit. | Im-pi-us | ex quo
Par-tu-ri unt mon|tes, nas;ce-tur | ri-di-cu!lus mus
In somnls, muljto ma-ni fes-tl | lu-mi-ne, | qua se
Aus-pi-ci Is ma-ni fes-ta fi des : sic | fa-ta dejum rx
Ll-to-reis in gens in'ven-ta sub | I-li-ci bus BUS
Mas-sy ll-que ruunt e-qui^tes et o!do-ra canum vis
Dar-da-ni um-que du^cem Ty-ri^ Oar]tha-gi-ne | qul nunc
1 Vi rsi-s ciiliir_' in a ninii>syll;ilili- arc relatively rare in <la<M\ lie
m-irical (|iialilv is pci'iiliar, ami somewhat difficult of
:t]i|.n-li.-imi,,n ninil the car is ili..r.iii-hly traiin-d.
22 ''/
ii. WOKDS ix WHICH i AND u IJKCOMK j AND v.
Hae-rent | par-je-tijbus sca|lae posiis-que sub | ip-sos
Ous-to des sufjfer-re va lent ; la-bat | ar-je-te | cre-bro
Ae-di-fi cant secj.ta-qu c injtex-unt | ab-je-te | cos-tas
Bis pa-tri ae ce-ci|de-re mantis. Qum | pro-ti-nus | om-nja
Prae-fe-rijmus ma-nijbus vittas ac | ver-ba pre|can-tja
Gen-va la bant, vas tos qua-tit | ae-ger an he-li-tus | ar-tus
Ten-vi-a | nee la|nae per | cae-lum | vel-le-ra | fer-ri
Nam quae | ten-vi-a | sunt his|cen-dist | nul-la pojtes-tas
Fluv-jo rum rex | E-ri-da|nus cam|pos-que per | om-nes
Sem-ja-ni mem-que sinu ger|ma-n ftm am|plex-a fOjVe-bat
Fa-m a est | En-ce-la|dl sem|jus-tum | ful-mi-ne | cor-pus
I. SYSTOLE AND DIASTOLE.
a. Systole. 1
Ob-sti-pui ste-te|runt-que co m ae et vox | fau-ci-bus | hae-sit
Oon-sti-te'runt, sil v a al-ta Jo|vis lu|cus-ve Di|a-nae
Tor-se-rit | in Ku-tulos, ste-te|runt qu ac in | cor-po-re I.Gra-jum
b. Diastole. 2
Luc-tus u|bi-que pa|vor et | plu-ri-ma | mor-tis i|ma-go
Os-ten|tans a^tem-que pa ; ter arcum-que so|nan-tem
1 This is the employment as short of ;i s\ llnltlc usually loii.
' 2 This is the employ meiit us loni: of ;i syllable usually short.
Systole ami Diastole arc not mere arhitrary processes. They fre-
quently represent an earlier pronunciation \\hieh had passed out of
VOgne in the ordinary speech. This is true in all the examples .uiven
except the la^t three under b.
Miscellaneous Peculiarities. 23
Nus-qu am aniit-tebat o-culos-que sub | as-tra tejne-bat
Per-ga-ma | cum pe-te ret in con-ces|sos-qu c hy-mejnae-os
Qui te-neant (n* m in|cul-ta vi|det) ho-mi|nes-ne fe|rae-ne
Pec-to-ri bus in-hlans spl ran-ti-a | con-su-lit | ex-ta
Non te nul-li us ex er-cent | nu-mi-ms | i-rae
Ll-to-ra | jac-te^ur o-di|is Ju|no-nis a|cer-bae
J. HYPERMETER VERSES.
Jac-te mur do-ce as ; ig|na-r ho-mi|num-que lo]co-rum | que^
Er-ramus.
Ae-re-a | cui gra-di|bus sur ge-bant | li-mi-na | nex-ae | que^
Aere.
Et magnos mem br5-r um arltus, mag|n a os-sa la!cer-tos|que^
Ex-u-it.
Aut dulcis mus t! Vol|ca-no | de-co-quit | u-mo]rem^
Et.
Iv MISCELLANEOUS PECULIARITIES.
1 . \Yhen -que . . . que occurs, the first -que not infre-
quently makes a long syllable ; e.g.,
Spl-cu-laque 1 cli-pe|I-qu e erep-ta-que | ros-tra caTl-ms
Bron-tesque 1 Ste-ro|pes-qu c et | nu-dus | mem-bra Palae-mon
1 In m-arly all cases \vln-n- this lmi:t liming occurs, the following
ii i\v<> consonants. It is. tlim-fop-. i)robal)le that one
of t]ie consonants wa.s joim-il in prominciaiion with the e of -que,
thus making a closed (i.e. lon^i svllahl.-; thus,
Hr>: :-.-;|irs.ijiH'.
f CMins.-, tlic ijiiamity of the vowel was not changed.
24 I \ rues for Practice.
-. Hiatus occurs with some frequency; e.g.,
Post-ha-bi;ta co-lu|is-se Sa|mo; hie | il-li-us | ar-ma
Ne-re-idum miltri et | Nep-tu|no Ae^gae-o
Tu-n e ill* Ae-nejas, quern Dar-da-ni|o An^chl-sae
Oon-ci-li a E-ly-si|Um-que co|lo. Hue | cas-ta Si|byl-la
La-men tis ge-mi|tu-qu c et | fe-mi-ne|o u-lu|la-tu
3. A long final vowel or a final diphthong is sometimes
shortened (instead of being elided) before a following
vowel. This is called semi-hiatus ; e.g.,
In-su-lae | I-o-ni| in mag|no quas | di-ra Oe|lae-no
Vic-tor apud ra-pi^um Si-mo|en-ta sub | I-li-6 | al-to
No-men et | ar-ma lo|cum ser|vant: tS ami-ce ne|qu!-vl
1 These two verses are also spondaic lines.
PART II.
LYRIC METRES.
1. INTRODUCTORY.
THE various lyric metres employed by the Latin poets
are, like the dactylic hexameter, imitated from the lyric
metres of the Greeks. Greek lyric poetry, as its name
implies, was primarily written for musical performance,
i.e. for singing to the accompaniment of the lyre. There-
fore, in the rendition of such poetry, the utterance of the
words naturally conformed to the musical tempo. It
accordingly not infrequently happened that the normal
quantity of the syllables was either shortened or length-
ened in order to secure such conformity. The perform-
ance of Greek lyric poetry, in other words, was entirely
analogous to the performance of a modern song, in which
a single syllable often extends in time over an entire
measure, or even more. 1
Now, there is nothing to show that the Horn an poets,
in borrowing the lyric measures of the Greeks, employed
them for the composition of poetry ichich tra.s //,/, ,,<led to
be sung to a rmusical accompaniment. In fact, everything
i Witness, for example, the opening measures of Gounod's Ave
Maria.
26
26 Lyric Metres.
seems to point the other way, viz. to the fact that Roman
lyric poetry was primarily intended for oral muling. 1
At all events, for the student the only practical tiling is
to read such poetry. He cannot sing it to a musical
accompaniment, and the problem which confronts him
is: How to read it.
Most of our American grammarians who touch on
Latin prosody make Latin lyric metres conform to a
strict musical notation. In carrying out this principle,
they inculcate the frequent necessity of abnormally
shortening some syllables and of abnormally lengthening
others, as was above explained to be the regular practice
in the rendition of Greek lyric poetry.
Thus, the opening line of Horace's first ode, in accord-
ance with the doctrine alluded to, is divided as follows :
Mae-ce|nas a-ta|v!s || e-di-te | re-gi|bus
That is, the musical tempo of | time is assumed as the
basis of the construction of this poem, and the words are
supposed to be artificially adapted to that movement.
This is indicated by the notation above printed. The
sign _ > (the irrational spondee) indicates a spondee
(really ) shortened to f ; -w w (the cyclic dactyl) indi-
cates a dactyl (really |), likewise shortened to f; 2
i is used to indicate that the long syllable (ordinarily
1 The article by Otto Jahn in HERMES, ii, Wie wurden die Oden
des Horaz vorgetragen? does not succeed in disproving this.
2 The exact distribution of the syllables is often cxpl;unrl l.\ tin-
musical notation /I l ri*
0- * 4
Introductory. 27
j) is here equivalent to f ; while the sign A indicates
a pause sufficient to prolong -bus, the final syllable (equal
), to the time of f. That is, in order in reading to
make the verse conform to the prescribed musical nota-
tion, the student is obliged in every foot but one to
introduce an artificial pronunciation at variance with the
natural employment of the same words in everyday
speech. Were the pupil sinyiiKj the ode to musical
Mipaniment, such an artificiality would seem per-
fectly natural, since in singing the text is habitually
made subordinate to the notes; but that in the reading
of Latin lyric poetry there was any such artificial adap-
tation to a musical tempo is a priori inconceivable. No
such process ever occurs in the poetry of any language.
The poet simply takes the choicer words of familiar
h and employs them in their ordinary equivalence
with their regular pronunciation. He must do so, for
his appeal is to the many, not to a select handful who
may have been initiated into the secret trick of his
versification. In reading poetry in any language the
reader trains sufficient consciousness of the metrical
ture of the verse by pronouncing the words with
their ordinary everyday values; he does not first hunt
up the metrical scheme, and in his reading adapt the
words to the scheme. So, too, one would naturally
it must have been in Latin.
Moreover, there is no evidence of any kind which
intimates that the Komans did otherwise. The ancient
. in fact, who wrote extensively on the sub-
f lyric poetry, particularly on the lyric metres of
28 Verses for Pra<
Horace, so far from suggesting a musical tempo as the
basis of lyric verse, group the syllables on entirely
different principles.
It would seem plain, therefore, that the Latin lyric
poets, in adopting the form of Greek lyric poetry, did
not also adopt the specifically musical tempo which, as
above explained, was inherent in the musical lyric poetry
of the Greeks.
Latin lyric poetry, accordingly, is to be read like
poetry in any language. The reader is to pronounce the
words with accuracy, following the principles explained
in Part I of this pamphlet. If he does that, the metre
will take care of itself, and an ear already accustomed to
a correct quantitative reading of the dactylic hexameter
will have no difficulty in at once apprehending the form
of a Latin lyric even without the help of a metrical key ;
i.e. a correct pronunciation of the words in Latin, as in
English, itself reveals the metrical structure of the verse;
and the student who is curious to see the verse-scheme
set down in long and short syllables can easily deduce the
scheme himself, and group the syllables into appropriate
feet.
2. VERSES FOR PRACTICE.
A. SAPPHIC METRE.
HORACE, Odes, i, 2.
Jam sa-tis ter-ris ni-vis at-que di-rae
Gran-di-nis mi-sit pa-ter et ru-ben-te
Dex-te-ra sac-ras ja-cu-la-tus ar-ces
Ter-ru-it ur-bem,
Sapphic Metre. 29
The pupil who correctly pronounces the words of this
stan /a will apprehend at once that each of the first three
verses consists of :
Trochee, Spondee, Dactyl, Trochee, Spondee, 1
W | | WW I W I ^.',
while the fourth line will be seen to consist of:
Dactyl, Spondee, 1
w w | ^.
He will therefore naturally group the words of the
remaining stanzas with reference to this consciousness,
as he goes on to read the rest of the poem, part of which
here follows :
Ter-rn|it gen|tes, gra-ve | ne re|di-ret
Sae-culum Pyrjrhae no-va | mon-stra | ques-tae
Om-ne | cum Pro|teus pe-cus | e-git | al-tos
Vi-se-re | mon-tis,
Pis-ci| um et sum|ma ge-nus | hae-sit | ul-m5
Ko-ta | quae se|des fu-e|rat co|lum-bis
Et su|per-jec|to pa-vi|dae na|ta-runt
Ae-quo-re | dam-mae.
Vl-di|mus fla!vom Ti-be|rim re|tor-tls
Ll-to|r* Et-ru|sco vi-o'len-ter | un-dls
I-re | d6-jec|tum mo-nu|men-ta | r6-gis
Tem-pla-que | Ves-tae.
i The final syllable of a verse is, of course, either long or short, so
that a trochee may alternate wit It tin- s|,,,n,|,-,. in tin- l.-isi font.
30 Verses for
Au-di|et ci|vls a-cu|is-se | fer-rum
Quo gra|ves Per|sae me-li ( u8 pe|rl-rent
Au-di|et pug|nas vi-ti|o pairen-tum
Ka-ra ju]ven-tus.
Quern vo|cet di|vom po-pu|lus ru|en-tis
Im-pe|ri re|bus ? Pre-ce | qua fa|ti-gent
Vir-gi|nes sanc|tae mi-nus | au-di|en-tem
Oar-mi-na | Ves-tam?
Oui da|bit par|t!s sce-lus | ex-pi|an-di
Jup-pi|ter? Tan|dem ve-nias pre|ca-mur,
Nu-be | can-den|t!s u-me|ros a|mic-tus,
Au-gur A|pol-lo ;
Si-ve | tu ma|v!s, E-ry|c!-na | ri-dens,
Quam Jo|cus cirjcum vo-lat | et Ou|pi-d5
Si-ve | neg-lec|tum ge-nus | et ne|po-tes
Ees-pi-cis | auc-tor,
Heu ni|mis lon'go sa-ti|a-te | Iu-d6,
Quern ju|vat cla|mor ga-le|ae-que | le-ves
A-cer | et Mar|si pe-di|tis cru|en-tum
Vol-tus in | hos-tem ;
Si-ve | mu-ta|ta ju-ve|nem fi|gu-ra
A-les | in terjris i-mi|ta-ris | al-mae
Fl-li|us Ma|jae, pa-ti|ens vo|ca-ri
Oae-sa-ris I ul-tor,
Phalaeeion or Hen decasyllabic. 31
Se-rus | in caejlum re-de as diju-que
Lae-tus | in-tersls po-puilo Quiri-nl,
Ne-ve | te nosjtrls vi-ti|!s i|m-quom
0-ci-or | au-ra
Tol-lat ; | hie mag|nos po-ti|us trijum-phos,
Hie almes dl|ci pa-ter | at-que | prln-ceps,
Neu sinas Medos e-qui|ta-r e in|ul-tos
Te du-ce | Oae-sar.
B. PHALAECIAN OR HENDECASYLLABIC.
MARTIAL, vi, 82.
QuI-dam me mo-do Ku-fe di-li-gen-ter
In-spec-tum ve-lut emp-tor aut la-nis-ta
Cum viil-tu di-gi-to-que sub-no-tas-set.
A few lines of this, properly read, are sufficient to
reveal to the pupil that each verse consists of:
Spondee, 1 Dactyl, Trochee, Trochee, Spondee.
Impressed with this consciousness, the pupil will thru
go on to read the remaining verses of the poem in the
of this observation, as follows:
* Tu-n e es, | tu-n e > a-it | < il-le | Mar-ti a-lis,
Ou-jus | ne-qui-ti|as jo|cos-que | no-vit
Au-rem | qul mo-do | non ha|bet Bo|o-tam ? '
Sub-ri|8l mo-di|oS, le|vl-que | nu-tu
1 Sometimes the first font takes tin- form u _.
Verses for Practice.
Me quern | dix-e-rat | es-se | non ne|ga-vl.
'Our er|gY in-quit, <ha|bes ma las la|cer-nas?'
Kes-pon'di, ' qui-a | sum uialus poe-ta.
Hoc lie | sae-pi-us | ac-ci dat po e-tae,
Mit-tas | Eu-fe mi|hl bojnas la|cer-nas.'
MARTIAL, x, 19.
Nee doc|tum sa-tis | et pa|rum se|ve-rum,
Sed non | rus-ti-cu|lum ni|mis li|bel-lum
ra-cun|d5 me-a | Pli-ni^ Tha|li-a,
I perjfer : bre-vis | est la]bor per|ac-tae
Al-tum | vin-ce-re | tra-mi|tem Su|bu-rae.
IMlc | Or-phe-a | pro-ti|nus vi|de-bis
U-di | ver-ti-ce | lu-bri|cum the|a-tri,
Mi-ran \ tes-que fe|ras a]vem-que | re-gis,
Kap-tum | quae Phry-ga | per-tu|lit To|nan-ti.
Il-lic | par-va tui do|mus Pedo-nis
Oae-la|t & est a-qui|lae mi|no-re | pin-na.
Sed ne | tem-po-re | non tu|5 di|ser-tam
Pul-ses | e-bri-a | ja-nu|am vi|de-to.
To-tos | dat te-tri|cae di|es Miner-vae,
Bum cen|tum stu-det | au-ri|bus vi|ro-rum
Hoc quod | sae-cu-la | pos-te|ri-que | pos-sint
Ar-pi:ms quo-que | com-pa|ra-re | char-tls.
Se-ras | tu-ti-or | I-bis | ad lu|cer-nas.
Haec ho|r* est tu-a, | cum fu|rit Ly|ae-us,
Oum reg|nat ro-sa, | cum ma|dent ca|pil-ll :
Tune me | vel ri-gi|dl le|gant Oa^to-nSs.
First Asclepiadean. 83
C. FIRST ASCLEPIADEAN.*
HORACE, Odes, i, 1.
Mae-ce-nas a-ta-vis e-di-te re-gi-bus,
et prae-si-di- um et dul-ce de-cus me-um :
Sunt quos cur-ri-cu-lo pul-ve-r em 0-lym-pi-cum
Ool-le-gis-se ju-vat me-ta-que fer-vi-dls
The pupil will at once see that the scheme of this
verse is :
By those who reject the strictly musical notation the
feet are grouped as follows :
|_ww|_||_ww|_w|v>;
i.e. Spondee, Dactyl, Long Syllable, Dactyl, Trochee,
Long Syllable.
This grouping, however, is not necessary, and the
ancients felt the line as:
_ I _ w w _ I __w w_
The remainder of the ode follows:
E-vi ta-ta ro|tls || pal-ma-que | no-bi|lis
Ter-ranim do-mi|nos || e-ve-hit | ad dejos
Hunc, si | m5-bi-li|um || tur-ba Qui|rl-ti|um
Oer-tat | ter-ge-mijnis || tol-le-r* ho|n5-ri|bus ;
1 The names, " First," " Second," "Third Asclepiadean," are some-
di(TTPntly applied. The nomenclature here followed is that of
in M tiller.
34 Verses for Pn/
Il-him | si pro-prijo || con-di-dit | hor-re|5
Quid-quid | de Ly-bijols || ver-ri-tur | a-rels.
Gau-denjtem pa-tri|os || fin-de-re | sar-cu|lo
Ag-ros | At-ta-lijcls || con-di-cl o-ni|bus
Num-quam | de-mo- ve as, || ut tra-be | Oyp-ri|a
Myr-to|um pa-vi|dus || nau-ta secet ma|re.
Luc-tan|t cm I-ca-ri|is || fluc-ti-bns | A-frijcum
Mer-cator me-tuens || o-ti- um et | op-pi|di
Lau-dat | ru-ra su|! ; || mox re-fi|cit ra|tes
Quas-sas, | in-do-cijlis || pau-pe-ri|em pa|ti.
Est qui | nee ve-te|ris || po-cu-la | Mas-si|cl
Nee par | tern so-li|do || de-me-re | de dije
Sper-nit, | nunc vi-ri di || mem-bra sub | ar-bu|to
Stra-tus | nunc ad a|quae || le-ne ca|put sa|crae.
Mul-tos | cas-tra ju|vant || et li-tu|o tu|bae
Per-mix|tus so-ni tus || bel-la-que | ma-tri|bus
De-tes ta-ta. Ma|net || sub Jo-ve | frl-gi|do
Ve-na|tor te-ne|rae || con-ju-gis | im-me|mor
Seu v!|sast ca-tu|lls || cer-va fi|de-li|bus,
Seu ru|pit te-re|tes || Mar-sus a|per plajgas.
Me doc|ta-r um he-de|rae || prae-mi-a | fron-ti|um
Dis misjcent su-pe|ris, || me ge-li|dum ne|mus
Nym-phajrum-que le|ves || cum Sarty|iis cho|ri
Se-cer|nunt po-pu|lo, || si ne-que | t!-bi|as
Eu-terjpe co-hi|bet || nee Po-ly|hym-ni a
Les-bo|um re-fu|git || ten-de-re | bar-bi|ton.
Quod si | me ly-ri|cls || va-ti-bus | In-se|ris,
Sub-li|ml fe-ri|am || si-de-ra | ver-ti-ce.
Second Asclepiadean. 35
D. SECOND ASCLEPIADEAN.
HORACE, Odes, i, 3.
Sic te di-va po-tens Oy-pr!
Sic fra-tres He-le-nae, lu-ci-da si-de-ra,
Ven-to-rum-que re-gat pa-ter
Ob-stric-tis a-li-!s prae-ter I-a-py-ga.
The pupil at once sees that the even lines are identical
with the First Asclepiadean metre (C, above), while the
cxld lines have the scheme :
The balance of the ode follows :
Na-vis | quae ti-bi | cre-di|tum
De-bes | Ver-gi-lium, || fl-ni-bus | At-ticls
Bed-das | in-co-lu|mem pre|cor
Et ser]ves a-ni|mae || di-mi-dijum me|ae.
Il-li | ro-bur et | aes tri|plex
Oir-ca | pec-tus e]rat, || qui fra-gi|lem tru|cl
Oom-ml|sit pe-la|go ra|tem
Pri-mus | nee ti-mu|it || prae-ci-pi|t pln A-fri|cum
De-cer|tan-t cm A-quijlo-ni|bus
Nee tris tis Hy-a|das || nee ra-bi|em No|tl,
Qu5 non | ar-bi-ter | Had-ri|ae
Ma-jor, | tol-le-re | seu || po-ne-re | volt fre|ta.
Quern mor|tis ti-mujit grajdum,
Qui sic|cls o-cu|lls || mon-stra na|tan-ti|a,
Qui vl|dit ma-re | tur-bi|d um et
in-fa|mls 8co-pu|l5s || Ac-ro-ce|rau-ni|a?
36 -aes for Practice.
Ne-quljquam de-us | ab-sci|dit
Pru-dens | 6-ce-a|no || dis-so-ci|a-bi|ll
Ter-ras, | si ta-men | im-pi|ae
Non tan|gen-da ra|tes || tran-si-li|unt va|da.
Au-dax | om-ni-a | per-pe tl
Gens hujma-na ru|it || per ve-ti|tum ne|fas.
Au-dax | I-a-pe|tl ge nus
Ig-nem | frau-de ma'la || gen-ti-bus | in-tu|lit.
Post ign ei " ae-the-ri|a do|mo
Sub-duc|tum ma-cies || et no-va | feb-ri|um
Ter-ris | in-cu-buiit co|hors,
Se-mo|t!-que pri|us || tar-da ne|ces-sitas
Le-ti | cor-ri-pu|it gra|dum.
Ex-per|tus va-cuom || Dae-da-lus | a-e|ra
Pen-nis | non ho-mi|ni da|tis ;
Per-ru|p!t A-che|ront a || Her-cu-le|us la|bor.
Nil mor|ta-li-bus | ar-du- 1 | est;
Oae-l uin ip|sum pe-ti|mus || stul-ti-tija, ne|qu6
Per nos|trum pa-ti|mur sce|lus
I-ra|cun-da Jo|vem || po-ne-re | fiil-mi|na.
E. THIRD ASCLEPIADEAN.
HORACE, Odes, i, 15.
Pas-tor cum tra-he-ret per fre-ta na-vi-bus
I-dae-is He-le-nen per-fi-dus hos-pi-tam,
In-gra-to ce-le-res ob-ru-it o-ti-o
Ven-tos ut ca-ne-ret fe-ra.
Third Asclepiadean. 37
The pupil at once sees that the first three verses of
the stanza are identical with the First Asclepiadean,
while the concluding line is identical with the odd lines
of the Second Asclepiadean,
The remainder of the ode follows :
Ne-reus | fa-ta : < Majla || du-cis a|vl do|mum
Quam mul|to re-pe]tet || Grae-ci-a | m!-li|te
Con-ju|ra-ta tuas || rum-pe-re | nup-ti|as
Et reg|num Pri-a|mi ve|tus.
Heu hen, | quan-tus e]quis, || quan-tus ajdest vi|ris
Su-dor ! | Quan-ta moves || fu-ne-ra | Dar-da|nae
Gen-ti ! | Jam ga-le|am || Pal-las et | ae-gi da
Our-rus|qu e et ra-bi|em pa|rat.
Ne-qullquam Ve-neris || prae-si-di o fe|rox
Pec-tes | cae-sa-ri|em || gra-ta-que | fe-mi nis
Im-bel ll ci-thajra || car-mi-na | di-vi]des ;
Ne-qul^quam tha-la]mo gravls
Has-tas | et ca-k|ml || spi-cu-la | Gno-si|!
Vl-ta|bis 8tre-pi|tum||qu c et ce-le'rem 8e|qul
A-jacem : ta-men, | heu, || sS-rus a|dul-te|r5s
Orl-nls | pul-ve-re | col-li|nSs.
88 Pert** far /V</^/,v.
Non La|er-ti-a den, || ex-i-ti um tu ( ae
Gen-tis, | non Py-li|um || Nes-to-ra | res-pi|cis
Ur-gent | im-pa-vi|dl || te Sa-la|ml-ni|u8
Teu-cer, | t Sthe-nelus 8ci|ens
Pug-nae, | s!-v o-pus | estj im-pe-ri|ta-r c e|quis,
Non auri-ga pi^ger. || Me-ri-o|nen quojque
Nos-ces. | Ec-ce fu|rit || te re-pe|rl-r c a|trox
Ty-dijdes, me-li|or pa|tre,
Quern tii, | cer-vus u|ti || val-lis in | al-te|ra
Vi-sum par-te lu|pum || gra-mi-nis | im-me|mor
Sub-li;mi fu-gi|es || mol-lis an;he-li|tu,
Non hoc | pol-li-ci|tus tu|ae.
I-racun-da di|em || pro-fe-ret | I-li|o
Ma-tro|ms-que Phry|gum || clas-sis A|chil-le!l :
Post certas hi-e|mes || u-ret A|cha-i|cus
Ig-nis | Per-ga-me|as do-mos.'
F. FOURTH ASCLEPIADEAN.
HORACE, Odes, i, 14.
6 na-vis, re-fe-rent in ma-re te no-vi
Fluc-tus ! quid a-gis ? For-ti-ter oc-cu-pa
Por-tum ! Non-ne vi-des ut
Nu-dum re-mi-gi-o la-tns
The pupil at once sees that the first two verses of this
stanza are identical with the First Asclepiadean,
Fourth Asclepiadean. 39
that the third verse has the scheme
-- I _ \j \j I _ ^ ;
while the fourth verse is identical with the odd lines of
tin- Second Asclepiadean,
-- I _ w w | _ w | ]^.
The remainder of the ode follows :
Et malus ce-le|ri || sau-ci-us | A-fri'co
An-tem|nae-que gejmant || ac si-ne | fu-ni|bus
Vix diVra-re cari-nae
Pos-sint | im-pe-ri|o-si|us
Ae-quor? | Non ti-bi | sunt || in-te-gra | lin-te|a,
Non di, | quos i-te|rum || pres-sa vojces ma|lo.
Quara-vis | Pon-ti-ca | p!-nus,
Sil-vae | fi-li-a | n6-bi:lis,
Jac-tes | et ge-nus | et || no-men i|nu-tile,
Nil pictis ti-mi|dus || na-vi-ta | pup-pijbus
Fi-dit. | Tu ni-si | ven-tls
De-bes | lu-di-bri|um, cave.
Nu-per | sol-li-cijtum || quae mi-hi | tae-di urn,
Nunc de sl-de-ri urn || cu-ra-que | non le|yis,
In-ter!fa-sa niten-tls
Vl-tea | ae-quo-ra | Oyc-la;das.
40 >8 for Practice.
G. ALCAIC.
HORACE, Ode*, i, <>.
Vi-des ut al-ta stet ni-ve can-di-dum
3o-rac-te, nee jam sus-ti-ne-ant o-nus
Sil-vae la-bo-ran-tes ge-la-que
Flu-mi-na con-sti-te-rint a-cu-to.
This metre is more complex than any of those yet
examined, but is easily seen to conform to the following
scheme :
^ I _ w | I _ w w I _ w I ^ (twice)
-l_w I |_w |_^
_ v w | _ w w I _ w |_^-
The balance of the ode follows :
Dis|sol-ve | fri-gus lig-na sujper fo|co
Large re|po-nens, | at-que be|nig-ni|u8
De|pro-me | quad-ri'mum Sa;bi-na,
Tha-li'ar-che, me rum di|o-ta.
Per|mit-te | di-vis | ce-te-ra | qui si|mul
Stra|ve-re | ven-tos | ae-quo-re | fer-vi|dos
De|proe-li!an-t!s, | nee cu'pres-si
Nee ve-te|res a-gi|tan-tur | or-nl.
Quid | sit fu|tu-rum | eras fu-ge | quae-reT e , et
Quern | fors di|e-rum | cum-que da|bit lu|cro
Ap|po-ne, | nee duljcis a|mo-res
Sper-ne pu,er ne-que | tu cho re-as,
Alcaic. 41
Donee vi'ren-t! | ca-ni-ties a]
Moro-sa. | Nunc et | cam-pus et | a-re|ae
Lenes-que | sub noc|tem su|sur-ri
Oom-po-sita re-pe^n-tur | ho-ra;
Nunc | et la ten-tis | pro-di-tor | in-ti|mo
Gratus puel-lae | ri-sus ab | an-gu|lo
Pig|nus-que | de-rep \ turn la|cer-tls
Aut di-gijto ma-le | per-ti na-ci.
HORACE, Odes, i, 17.
Nunc | est bi ben-dum | nunc pe-de | li-be|ro
Pul san-da | tel-lus, | nuno Sa-li|a-ri|bus
Orna-re | pul-vinar de|o-rum
Tern-pus erat da-pi bus, soda-les.
Antehac ne|fas de|pro-me-re | Oae-cu|bum
Oeljlls a|vl-t!s, | dum Oa-pijto-li o
Eegi-na | de-men tis rui-nas
Pu-nus et | im-pe-ri|o pararbat
Oon ta-mi na-to | cum gre-ge | tur-pi|um
Morjbo vi|ro-rum, | quid-li-bet | im-po|tens
Spera-re | for-tuna-que | dul-cl
E-bri-a. | Sed mi-nu|it fur5-rem
Vix | u-na | s5s-pes | na-vis ab | Ig-ni;bus,
Mentem-que | lym-pha tain Ma-re o-tico
Ee|de-git | in veros timo-res
Oae-sar, ab | I-ta-li a volan-tem
\-2 I ' .*, .v fof /'//
Re mis ajdur-gens, | ac-ci-pi'ter ve|lut
Mollls co|lum-bas | aut le-po|rem citus
Ve|na-tor | in cam | pis ni va-lis
Hae-mo-niae, da-ret | ut cate-nis
Fa|ta-le | mon-stnim. | Quae ge-ne ro-si us
Pe|rl-re | quae-rens | nee mu-li|eb-ri|ter
Ex pa-vit | en-sem | nee la|ten-t!s
Olas-se ci|ta re-pa|ra-vit | 5-ras ;
Au|s* et ja|cen-tem | vi-se-re | re-gi|am
Vol|tu seTe-no, | for-tis et | as-peras
Trac|ta-re | ser-pen|tes, ut | a-trum
Oor-po-re | com-bi-be]ret vejne-num,
De|li-be|ra-ta | mor-te fe|ro-ci|or,
Saejvis Lijbur-nis | scl-li-cet | in-vijdens
Pri va-ta | de-du|cl su per-bo
Non hu-mi|lis mu-li|er tri|um-pho.
H. IAMBIC METRES.
HORACE, Epodes, ii.
Be-a-tus il-le qui pro-cul ne-go-ti-Is,
Ut pris-ca gens mor-ta-li-um,
Pa-ter-na ru-ra bo-bus ex-er-cet su-Is,
So-lu-tus om-nl fae-no-re.
It is at once obvious that the measure is iambic, the
odd lines containing six iambi, the even lines four. The
strict scheme will be :
Iambic Metres. 43
but the spondee is occasionally substituted for the iambus
in the odd feet of the verse, and at times even other
substitutes occur, e.g. the tribrach (w w w), dactyl, and
sometimes the anapaest (w w _).
A portion of the remainder of the epode follows :
Ne-qu c exci-tatur clas|si-co | mi-les | tru-ci,
Ne-qu e hor|ret i^a-tum | ma-re,
Fo-rum]que vi|tat et | su-per|ba cl|vi-um
Po-teniti-o rum li|mi-na.
Er-g aut | a-dulta vl ti-um | pro-pa |gi-ne
Al-tas | ma-ri;tat pojpu-los,
Aut in | re-duc|ta val|le mu;gi-en|ti-um.
Pro-spec tat erjran-tis | gre-ges,
I-nuti-l!sve f al ce ra|mos am|pu-tans
Fe-lici-ores injse-rit,
Aut pres|sa pu|rls mel|la con|dit am|pho-rls,
Aut ton^det in| fir-mas | o-ves ;
Vel cum | de-co|rum mi;ti-bus | po-mis | ca-put
Au-tumnus agris extu-h't,
Ut gau|det Inlsi-ti'va de cer-pens | pi-ra,
Oer-tan|t em et uvam pur|pu-rae,
Qua mulne-r|tur t, | Pri-ap e et te | pa-ter
Sil-vane, tutor fijni-um.
Li-bet | ja-c>e mo-do | sub an|tl-qu & I|li-ce,
Mo-d in | te-na|cl gra]mi-ne ;
44 /'. t-scs for
La-bun|tur al|tls in;te-rim | rt-pls | a-quae,
Que-run tur in | sil-vis | a-v8,
Fron-desque lym phis obstre-punt | ma-nan ti-bus,
Som-n5s | quod in|vl-tet | le-vis.
At cum | to-nantis an nus lii ber-nus | Jo-vis
Im-bris | ni-v!8|que com pa-rat,
Aut trudit a|cris hinc | et hinc | mul-ta | ca-ne
A-pros | in objstan-tls | pla-gas,
Aut a-mite le;vi ra'ra tendit re|ti-a,
Tur-dis | e-da|ci-bus | do-los,
Pa-vi-dum^que le-po|r em et ad|ve-nam | la-que-o | gru-em
Ju-cunda cap|tat prae|mi-a.
Quis non | ma-la|rum quas | a-mor | cu-ras | ha-bet
Haec in;ter ob]li-v!s|ci-tur?
I. GLYCONIC.
CATULLUS, 61.
Ta-lis in va-ri-o so-let
Dl-vi-tis do-mi-n T hor-tu-15
Sta-re flos hy-a-cin-thi-nus.
Sed mo-ra-ris a-bit di-es :
Pr5-de-as, no-va nup-ta.
This is a five-line stanza, in which it is manifest that
the syllables of each of the first four verses group tlu-m-
selves thus :
1 In this verse an anapaest (o o _) is substituted twice for the
iambus.
Grlycon ic. 45
while the fifth verse has the form
\J | W W | W
Other stanzas from the same poem follow :
Pro-de]as, no-va | nup-ta | si
Jam vide-tnr, et | au-di|as
Nos-tra | ver-ba. Vi d e ut fajces
Au-rejas qua-tijunt co'mas :
Pro-de|as no-va | nup-ta.
Ne diju ta-ce|at pro|cax
Pes-cenni-na jo|ca-ti|o,
Nee nu'ces pu-eris neget
De-ser turn do-mi ^ au-di ens
Oon-cu|bi-nus ajmo-rem.
Da nu|ces pu-e|rls, i|ners
Oon-cubi-ne: satis di|u
Lu-sisti nn-ci|bus: li|bet
Jam ser|vi-re Ta|las-sio.
Oon-cu|bl-ne nu|ces da.
Trans-fer | o-mi-ne | cum bo|n5
Li-men | au-re-o|los pe|des,
Ea-8i|lem-que su^bi forem.
6 Hy men Hy-me uae i o
Hymen Hy-me nae-e.
t>: Prei far Practice.
Lu-dit ut li-bet | et brevl
Li-be ros da-te. | Non decet
Tarn ve|tus si-ne | li-be,rls
No-men | es-se, sed | in-didem
Sem-per | in-ge-ne|ra-ri.
Tor-quatus vo-15 | par-vu lus
Ma-tris | e gre-mi|o sujae
Por-rigens te-neras mantis
Dul-ce | rl-de-at | ad pajtrem
Se-mi^hi an-te la|bel-lo.
Sit su|o si-mi lis patrl
Man-lij et fa-ci|l e m-sciis
Nos-ci te-tur ab | om-nibus
Et pu[di-ci-ti am suae
Ma-tris I in-di-cet I o-re.
14 LATIN.
A Latin Grammar.
By Professor CHARLES E. BENNETT, Cornell University. i2mo, cloth.
282 pages. Price, 80 cents.
IN this book the essential facts of Latin Grammar are pre-
sented within the smallest compass consistent with high
scholarly standards. It covers not only the work of the pre-
paratory school, but also that of the required courses in college
and university. By omitting rare forms and syntactical usages
found only in ante-classical and post-classical Latin, and by
relegating to an Appendix theoretical and historical questions,
it has been found possible to treat the subject with entire ade-
quacy in the compass of 250 pages exclusive of Indexes. In
the German schools, books of this scope fully meet the exacting
demands of the entire gymnasial course, and the host of teachers
who have tried Bennett's Grammar find that they are materially
helped by the absence of the mass of useless and irrelevant matter
which forms the bulk of the older grammars.
Appendix to Bennett's Latin Grammar.
For university work. I2mo, cloth, 246 pages. Price, 80 cents.
'HE purpose of this book is to give such information regard-
T
ing the history and development of the Latin language as
experience has shown to be of service to advanced students.
The subjects treated are the Latin Alphabet, Pronunciation,
Hidden Quantity, Accent, Orthography, The Latin Sounds,
Inflections, Adverbs and Prepositions, and Syntax. Of these
subjects, those of Hidden Quantity, Inflections, and Syntax re-
ceive special attention; and the results of recent investigation
are set forth fully and clearly, but in compact form.
Complete Edition.
Latin Grammar and Appendix in one volume. Price, $1.25.
LATIN. 15
Latin Lessons.
By Professor CHARLES E. BENNETT, of Cornell University. i6mo,
cloth, 191 pages. Price, 70 cents.
PROFESSOR BENNETT is a believer in the old-fashioned
1 method of beginning Latin, that is, learning the forms first,
learning them in order, and learning them once and for all. The
Latin Lessons is a book that sends the beginner directly to the
grammar for forms and rules, taking them up in their regular
order. Complete sentences are found in the very first lesson,
and easy stories are introduced as soon as the pupil has learned
enough grammar, in the regular order, to read them. Teachers
who believe in the method of " resolute, systematic, and sustained
attack on declensions and conjugations 1 ' will find Professor Ben-
nett's new book admirably suited to help them in their work.
A. L. K. Volkmann, Volkmattn School, Boston, Mass.: I like Bennett's
Latin Lessons very much. You are getting somewhere, and you know
what you have got, and you get the whole thing, which is the main point.
The Foundations of Latin.
A book for Beginners. Revised Edition. By Professor C. E. BENNETT,
of Cornell University. I2mo, cloth, 250 pages. Price, 90 cents.
THIS book presents the matter for the beginner in Latin in
sixty chapters, the first thirty-five devoted almost entirely
to inflections, the remaining twenty-five to syntax, both subjects
being treated in the order in which they are usually found in the
grammar. Such rules of syntax as are needed for reading and
writing simple sentences are given in the earliest lessons, so that
the pupil has constant drill on the forms while acquiring them ;
but the systematic study of general syntax is postponed till the
pupil shall have mastered the forms. The book serves equally
well as an introduction to Caesar or Nepos.
Dr. R. M. Jones, I'rnn Charter School, Philadelphia, Pa. : We have adopted
Bennett's Foundations of Latin. It is the best book of its class.
George D. Bartlett, /'ruff Institute, Brooklyn, N. Y. : I have used a great
many introductory Latin books, and have found none so satisfactory as
Bennett's Foundations of Latin,
16 LATIN.
Ccesar's Gallic War.
Books I .-IV. Indicated quantities, Introduction, Notes, Vocabulary,
Illustrations, and colored Maps and Plans. Kdited by Professor
CHAKI D I-'.. I'.IN MIT, of Cornell University. lamo, cloth, 35-
Price, $1.00.
IN his Caesar, Professor Bennett has had constantly in mind the
point of view and the needs of the elementary pupil. No
pains, therefore, have been spared to make the Notes simple in
style, clear in statement, and pertinent and interesting in content.
Every real difficulty receives consideration and explanation, par-
ticular care being taken to indicate the course of the thought and
the connection of ideas. Book II. has been annotated with
especial fulness for the benefit of those teachers who prefer to
begin with this book rather than with Book I.
In matters of grammar and syntax, the editor, while following
the treatment and nomenclature of his own Latin Grammar, lias
also inserted references to the other Latin grammars in common
use. An Introduction of thirty-one pages treats of Caesar's life
and of the Roman art of war as practised in his day.
Cicero's Orations.
Indicated quantities, full Introduction, Notes, Vocabulary, Illustrations,
and two colored Maps. Edited by Professor CHARLES E. BI-.NM i r.
izmo, cloth, 374 pages. Price, $1.00.
THIS edition includes seven Orations, the four Catilines, the
Manilian Law, Archias, and Marcellus.
The aim of the editor is not merely to help the pupil to a cor-
rect rendering of the text, sentence by sentence, but also to bring
out the larger relations of thought which make these speeches
masterpieces of the art of oratory. With this in mind, the Notes
are intended to give a full historical outline of the circumstances
of each oration, to keep the pupil in touch with the logic of the
argument, and to give an adequate explanation of all points of
Roman law or custom.
LATIN. 17
Virgil's /Eneid : Books I -VI.
Edited by Professor Cn. \KI.FS K. HFNNF.IT, of Cornell University.
With Introduction, Notes, Vocabulary, Illustrations, and Map. 121110,
cloth, 491 pages. Price, $1.20.
THIS edition of Virgil has the characteristics which distinguish
all Professor Bennett's books, simplicity, clearness, and
scholarly accuracy.
A valuable feature of the book' is the Introduction, containing
a brief outline of Virgil's life, an appreciation of his various works,
and a full explanation of the quantitative reading of Latin poetry,
ler with classified verses for practice. Further assistance is
given the student in reading aloud, by the indicated quantities in
Book I.
The notes aim to give all the information that may be needed
by the average pupil in our secondary schools. In matters of
syntax all poetic constructions or other peculiarities are fully
explained as they occur; while on the literary side, all of the
mythological and legendary allusions are made clear. These
:cal stories are further illustrated by a number of admirable
pictures reproducing, in all cases, ancient statuary.
Grammatical references are to the author's Latin Grammar and
to the latest editions of Allen and Greenough, Harkness, and
Gildersleeve.
The Quantitatiue Reading of Latin Poetry.
By Professor CHARLES ]:. Hi NNF.TT. 121110, paper, 49 pages. Price,
25 cents.
that a more thorough study of the oral reading
1_) of I^atin Poetry may prove a source of pleasure and profit,
not only to the pupils but also to many teachers of the language,
Professor Bennett has prepared this little monograph emphasiz-
ing the importance of the knowledge of quantities as well as of
rhythm.
HISTORY.
Ancient History.
By Professor W. M. WEST, of the University of Minnesota. With
thirty-six maps and plans, and numerous illustrations. i2mo, half
leather, 606 pages. Price, $1.50.
THIS book is in complete harmony with the report of the
Committee of Seven of the National Historical Association.
It deals with the Eastern nations and with the Greeks. Romans,
and Teutons, the elements from which the modern world has
grown. Its aim is to show the continuity of history. Little space
is given to legends, or to anecdotes, or to wars ; attention is
directed to the growth of society, to the development of institu-
tions, to the fusion of peoples.
The book is accepted as marking a new epoch in the study of
History in this country.
Professor C. W. A. Veditz, Dates College, Lewlston, Maine : I like the book
because it does not waste any time over the mere curiosities of history.
I like it because it puts wars into the background and institutions into the
foreground. I like it because it is well balanced ; because it breaks away
from traditions, where traditions have had nothing but age to recommend
them ; because it omits the ephemeral and accidental incidents, and
emphasizes the lasting influences of ancient history ; because it contains
frequent, well-chosen quotations from the best authorities, and thus
inspires a desire to read further.
Principal H. P. "ft arren, Albany Academy, Albany, N. Y. : I have read it
from cover to cover with critical interest. The book is remarkable for
breadth of scholarship and skill in treatment. How a man can cover so
much ground, and with proper emphasis, in 500 pages, is beyond my ken.
All facts relating to a nation are always before him, and he marshals
them as a great general arranges a great army.
Professor George S. Goodspeed, University of Chicago, Chicago, III.:
West's Ancient History is evidently the work of an experienced and skill-
ful teacher. My attention has been specially caught by the admirable
organization and selection of material, as well as by the skill and general
accuracy of presentation. It will occupy a high place among the text-
books of its class.
Professor D. M. Fisk, \\'ashburn College, Topeka, Kansas: West's Ancient
History is more than mere annals; it is the rarer thing historical inter-
pretation, a chapter out of the evolution of human progress. Wisely
minimizing the details of battles, the personal chronicles of courts, it
emphasizes the broadly human, the economic, the social. Its abundance
of exquisite maps would by themselves win study.
HIST OR Y. 67
Modern History: From Charlemagne to the
Present Time.
By Professor W. M. WEST, of the University of Minnesota. With
thirty-nine maps and numerous illustrations. I2mo, half leather, 663
pages. Price, $1.50.
THIS volume, beginning where the author's Ancient History
ends, shows the development of the various forces which the
ancient world had brought together and which had been partially
welded in the empire of Charlemagne. In time it covers eleven
centuries ; but as much space is given to the last hundred years
as to the preceding thousand.
Beginning with the outbreak of the momentous French Revo-
lution, the book is remarkably full ; for the author believes it wise
to treat with comparative briefness the ephemeral phases of the
Middle Ages in order to gain adequate space for a full treatment
of the marvellous nineteenth century, and so for an intelligent
introduction to the twentieth.
Moreover, the book is noteworthy in the large share of atten-
tion given to the most recent history. To stop the history of
Europe at 1871 is to stop upon the brink of a vast and sudden
change and to leave the pupil in the rear of the world of to-day
much farther than is ordinarily represented by a human lifetime.
Since that date there have been created, through the principles
of democracy and nationality, a new Germany, a new Italy, a new
and stable French Republic. The origin and growth of these
principles, their struggle with the divine right monarchies and
final victory, are described in vivid language. To put the student
in touch with the recent movements in politics and in society is
the business of the high school course in history.
Like the author's Ancient History, the book is amply provided
with suggestions for further reading, both of contemporary authori-
.nd of modern writers, with topics for special reports, and, as
occasion requires, with review exercises. The latter part of the
book offers all possible aid in numerous suggestions for reports
on the events of to-day.
68 HISTORY.
History of England.
By Professor CHAKI i > M. ANDKKAVS, of Hrvn Mawr College. With
17 maps, chronological and genealogical tables, and numerous illus-
trations. I2mo, halt leather. 608 pages. Price, $1.50.
FIRST of all, the author's object has been to make a book
that would be interesting as well as instructive, teachable as
well as scholarly; that would encourage the teacher to take a
large and independent view of the subject, and the pupil to reali/.c
that there are in history a meaning and a purpose that are worth
searching for and finding out. Even a little thought expended
in the study of the growth of a people, their ideas, institutions,
and life, is more profitable than any amount of so-called knowl-
edge acquired from memorizing lessons and answering questions
that have been cut and dried beforehand. If there be a form of
historical writing supposedly peculiar to text-books, Prod
Andrews has made no effort to find it. His aim has been to tell
the story simply and clearly, leaving out nothing that ought to be
known, and including nothing that seemed to be unnecessary.
Furthermore, he has had constantly in mind matters of proportion,
perspective, and the proper arrangement of material, and has
made a narrative that will stand the test of scholarship.
The apparatus of this book consists of a large number of maps
and genealogical tables, a carefully selected list of books that
would be useful in any school library, a detailed chronological
table, footnote references to source books, and bibliographies of
the best and most recent works of an authoritative character
treating of periods or aspects of English history. The bibliog-
raphies and footnotes are for the teacher : the footnotes to call
attention to critical questions and problems in English history ;
the bibliographies to furnish a comprehensive list of the best
books, with a brief commentary.
The illustrations, seventy-four in number, are not mere embel-
lishments, but serve really to illustrate the text. A fac-simile of
a section of Magna Charta, reproductions of drawings in early
manuscripts, and pictures of a similar character, add \Q the pupil V
interest in the story of England.
HISTORY.
United States History.
By the late CHARLES K. ADAMS, and Professor W. P. TRENT, of
Columbia University. i2ino, half leather, 610 pages. Price, $1.50.
THE authors have thought that the two main crises of Ameri-
can history to which the attention of pupils should be specially
directed are the Revolutionary War and the Civil War. They
have in consequence treated these periods very fully, and have
endeavored in the case of the first to present the side of Great
Britain with fulness and impartiality, while, at the same time,
bringing out the necessity of the struggle and the bravery and
wisdom of the American patriots. In dealing with the period
of the Civil War they have aimed to give the Southern side with
sympathy and fulness, and, while upholding the cause of the
Union, have sought to avoid recrimination, and to give each side
credit for its sincerity and bravery. The other periods of our
history have not been unduly subordinated to the great crises
but have been so treated as to lead up to them. Throughout
the book the authors have tried so to deal with all the great
issues as to enable any teacher who differs from them in their
main conclusions, to use the volume as a basis for the presenta-
tion of his own views.
While emphasis has been necessarily laid on the political and
military features of our history, the social, industrial, scientific,
and literary development of the country has not been overlooked.
With regard to such helps as maps, illustrations, and biblio-
graphical references, practical usefulness has been made the
chief aim, the authors feeling that when indiscriminately supplied,
such so-called " helps " become rather a hindrance to the pupil.
They have particularly endeavored to lighten the pupil's labors
by supplying biographical notes with the portraits of important
personages, thus freeing the text from many burdensome details.
At the close of each period chapters are given summing up the
moral, literary, and social advance of the country, in such a way
as to facilitate the pupil's comprehension of the various stages
of our national evolution.
70 HISTORY.
The Ancient World.
By Professor Wn.i.is M. WEST, of the University of Minnesota.
Part I: Greece and the East. Twenty maps, numerous illustra-
tions. i2mo, cloth, 288 pages. Price, $1.00.
Part II : Rome and the West. Twenty-one maps, numerous illus-
trations. I2mo, cloth, 384 pages. Price, $1.00.
The two parts in one volume, izmo, half leather, 650 \
Price, $1.50.
""PHIS book was prepared for schools that feel the need <>t a
1 work somewhat easier than the author's .-Indent History.
The order and plan of the Aniicnt History remain unchan-t <1.
Professor West's aim being to make a book that shall be clear
and simple without being childish. He has tried to show how
national life, like individual life, has its continuous growth and
development, and to emphasize the value of the past in explaining
the present. Special effort is made to arouse interest in the wick-
spreading Greek world after the time of Alexander, and in the
Roman imperial world on which all later European life is prac-
tically based.
Ancient Greece.
From the earliest times down to 1466.0. By ROBERT F. PRNNB1 i .
Principal of State Normal School, Chico, Cal. Revised Kditiun, with
Plans and Colored Maps. i6mo, cloth, 193 pages. Price, 60 cents.
Ancient Rome.
From the earliest times down to 476 A.n. By ROBERT F. PKNNFI i .
Revised Edition, with Plans and Colored Maps. i6mo, cloth, 284 pages.
Price, 60 cents.
IN Ancient Greece and Ancient Rome the leading tacts are pre-
sented in a concise and readable form. Minor details and
unimportant names are omitted. The maps and plans have been
drawn and engraved especially for the books, and contain all the
data, and only the data, necessary for following the story.
University of Toronto
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