No More Learning

Mark the quantity of each syllable in Cecidi from credo,
Cecidi from cado, Fefelli from fallo.
12.
What supines of two syllables have the first syllable
short?
Of what quantity is the first syllable in Statum, the su-
pine active of Sto?
Of what quantity is the penultimate of supines in ututn,
of more than two syllables?
When is the penultimate long in supines in Hum of
more than two syllables?
IS.
What is the quantity of each syllable in the preterper-
fects Legi, vicit, pepigisti?
Mark the quantity of each syllable in the supines and
participles Tritu, spretus, latu, suasus.
What is the quantity of the penultimate in Fugitum,
a supine of Fugio?
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? tt EXERCISES IN QUANTITY.
Mark the quantity of each syllable in Movi, moveratis,
motus fuerit.
14.
Why are the two first syllables made short in the pre-
terperfect Tetigi. ?
Why is the penultimate lengthened in the participle
Finitus from finio, finivi?
Mark the quantity of each syllable in Tango, tetigero,
tangebamini.
What is the quantity of the penultimate and final syl-
lable in the future tenses Crepabis, miseritis, exceperis?
IS.
Of what quantity is each syllable in the past tense*
Mulcebamus, procuderis, miscuerint, luxerimus?
Mark the quantity of the syllables in Pependi, plevistis,
fusos.
Why is the first syllable long in Liqui?
Mark the quantity of each syllable in Ceciderat from
caedo, and Cecidimus from cado.
16.
Is a contracted syllable long or short?
What quantity have Greek words?
Mark the quantity of each syllable in Deum for deo-
rum, and Pugnaro for pugnavero.
Of what quantity is the last syllable of a verse I
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? PART II.
SCANNING.
CHAPTER I. --Definitions.
SCANNING is the dividing of a verse into the feet, of
which it is composed, and the assigning of their proper
quantity to the constituent syllables in each foot.
A foot in poetry consists of two or more syllables, con-
nected and arranged according to established rules, and
forming part of a verse.
The principal feet in Latin poetry are the spondee and
the dactyl. A spondee consists of two long syllables; as
Sylvae: a dactyl consists of one long and two short sylla-
bles; as Tempora.
A certain number of connected syllables is called a foot, '? ' be-
cause," says Mr. Murray, "it is by the aid of these feet, that the
voice, as it were, steps along through the verse in a measured
pace. " The metaphor was probably taken from the regulated mo-
tion of the feet in theancient mode of dancing, with which poetry,
as well as music, was at one period so closely connected and assi-
milated, that dancing was said by Simonides to be silent poetry,
and poetry an eloquent or speaking dance. A poetical foot ba>
been compared also to a bar in music.
A verse is a certain number of connected feet, forming
a line of poetry.
The verses in the most general use in ancient poetry
are the hexameter and the pentameter.
The term verse is derived from the word Vertere, to turn; it i>
applied to poetry probably because, at the close of each line, the
reader necessarily turns to the beginning of another.
Verses are not measured in the ancient languages, as ttiey are
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? 34 EXERCISES IN
in our own, by the number of their syllables, but generally by the
number of their feet, or the length of time required for their pro-
nunciation: hence the versification of the Greeks and Komans
admits of a much greater degree of variety and harmony, than the
regular heroic measures in English poetry.
EXERCISES.
1.
What is scanning?
What is meant by a poetical foot?
Of what do verses consist?
Mention the two principal feet used in Latin poetry.
2.
What is a spondee?
Of what does a dactyl consist?
Is the noun Prscmia, a dactyl or a spondee?
Which of the words in the following sentence is a spon-
dee, " Redeunt jam gramma campis? "
CHAPTER II. --Hexameter.
A hexameter verse consists of six feet, of which the
sixth is a spondee, the fifth a dactyl, and the preceding
four either dactyls or spondees; as
Sunt her|bje dul|ces ; sunt | quae ml|tescerg | flamma
M611i|rique qiie|ant: nec | vobls | lacteus | humor
Eripi|tur, nee | mella thy|ml redo|lentia | florem.
Prodiga | divitijas alilmentaque | mhia | tellus. Ovid.
The term hexameter is derived from ihe Greek wordsff, six,
and (Mt}oi, a measure.
This kind of verse is generally used in poems, which are de-
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? SCANNING. S5
signed to be descriptive of great and splendid actions, and is con-
sequently sometimes called heroic verse. It is the most ancient
of all poetical measures, as well as the most dignified and harmo-
nious. The use of the hexameter is not, however, confined to
epic and heroic poetry. The satires and epistles of Horace are
sufficient to prove that it is a measure no less adapted to the most
familiar, than it is to the most exalted subjects. The verses of
this poet do not indeed possess the majestic harmony of the polish-
ed numbers of Virgil, but his neglected hexameters are perhaps
equally illustrative of the variety and powers of the language, in
which they are written.
Some attempts have been made to introduce the hexameter into
our own and the French poetry, but they have only proved the
comparative deficiency of harmony in modern tongues, and the
folly of attempting to regulate one language, by the laws deduced
from the peculiar nature and excellences of another.
A spondee is sometimes found in the fifth foot of a
hexameter, instead of a dactyl, and gives to the line the
name of a spondaic verse; as
Proximfis ] huic 16n|go sed | proximus | inter|vall6.
," Virg.
When a spondee is substituted for a dactyl in the fifth
foot of a hexameter, to prevent the line from appearing to
move too heavily, the fourth foot is generally a dactyl.
It must always be observed in scanning, that when a word end-
ing in a vowel or the consonant m is immediately followed by a
word beginning with another vowel or the aspirate h, an elision of
the preceding vowel generally takes place, and the final syllable of
the word is not scanned nor counted in the line; thus, in the three
verses, which immediately follow, the syllables printed in italics
art not considered as forming any part of a foot;
Obsta|batque ali|Is ali|ud, quia I corpdre in | uno,
Mollia I cum du|ris, slnS | pondgre hii|lientia | ponilus.
Quae post|quam evol|vit CKJcoque ex|euiit a]rervo. Ori>>.
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? 36 EXERCISES IM
The lines inthefourjirst of the following exercises are
already divided into feet, so that the scanning of them will
be completed by marking, and proving by the rules, the
quantity of their syllables: the other lines must be divided,
at well as marked and proved.
EXERCISES.
1.
Aurca | prima sa|ta est ae|tas, quae, | vindice | nullo,
Sponte su|a, sine | lege fi|dem rec|tumque co|lebat.
2.
Pcena me|tusque abe|rant; nec | verba mi|nacia | fixo
iEre le|geban|tur; nee | supplex | turba ti|mebant
3.
Judicis | ora su|i; sed e|rant sine | vindice | tuti.
Nondum | c:esa su|is, pere|grinum ut | viseret | orbem,
4.
Montibus, | in liqui|das pinlus de|scenderat | undas:
Nullaque | morta|les pne|tsr sua | littora | norant.
5.
Nondum pracipites cingebant oppida fostte;
Non tuba directi, non asris cornua flexi,
6.
Non galeae, non ensis erant; sine militis usu,
Mollia secune peragebant otia gentes.
7-
Ipsa quoque immunis, rastroque intacta, nee ullis
Saucia vomeribus, per se dabac omnia tellus.
'8.
Contentique cibis, nullo cogente, creatis,
Arbuteos foetus rr. ontanaque fraga legebanf,
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? SCANNING. $7
9.
Cornaque, et in duris haerentia mora rubetis, ?
? t, quae deciderant patula Jovis arbore, glandes.
* 10.
Ver erat aeternum; placidique tepentibus auris
Mulcebant Zephyri natos sine semine flores.
11-
Mox etiam fruges tellus inarata ferebat;
Nec renovatus ager gravidis canebat aristis.
12.
Flumina jam lactis, jam flumina nectaris ibant;
Flavaque de viridi stillabant ilice mella.
13.
Postquam, Saturno tenebrosa in Tartara misso,"
Sub Jove mundus erat, subiit argentea proles,
Auro deterior, fulvo pretiosior aere.
1*.
Jupiter antiqui contraxit tempora veris,
Perque hyemes, aestusque, et inaequales autumtios,
Et breve ver, spatiis exegit quatuor annum.
15.
Tum primum siccis, aer, fervoribus ustus,
Canduit; et ventis glacies astricta pependit.
Tum primum subiere domos; domus antra fuerunt,
16.
Et densi frutices, et vinctae cortice virgae.
Semina tum primum longis Cerealia sulcis
Obruta sunt, pressique jugo gemuere juvenci.
OVIB.
Lai. Pr. D
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? 38 EXERCISES IN
CHAPTER III--Pentameter.
A pentameter verse is generally divided in scanning
into two parts, the first of which consists of two feet,
which are either dactyls or spondees, followed by a long
syllable; the latter part is always composed of two dactyls
followed by another long syllable; as
Ipse juibet morjtis | te mSmT|nIssS DS|us.
Da venilam; propS! rat | vlverS | nemo sa]tis.
Sit nox | cum som|n6; | sit sine | litS di|es. Mart.
This is the most common, but not the most correct mode of
scanning this species of verse. A pentameter properly consists,
as its name implies, of five feet, of which the first two are either
dactyls or spondees, the third a spondee, and the fourth and fifth
anapaests or dactyls reversed. Ajrceably to this division, the last
of the preceding lines would be scanned thus,
Sit nox | cum soni|uo; tit I ting IT)re fiies.
The term pentameter is derived from nivre, five, and f*'vo>>, a
measure. This kind of verse is sometimes termed elegiac, because
it is generally employed by the poets in elegiac and similar compo-
sitions. It is however seldom or never used alone in a poem, but
is intermixed with hexameters, and sometimes with other
measures.
In the exercises in. this work, and indeed in poetry in genera),
a pentameter may be distinguished from a hexameter verse by the
first word being printed somewhat within the boundary of the
page, and consequently not beginning in a line with the other
verses; thus in the exercises, which immediately follow, every al-
ternate line is a pentameter; the others are hexameters.
EXERCISES.
1.
~, Ariadne Theseo,
Quae legis ex illo, Theseu, tibi littore mitto,
Unde tuam sine' me vela tulere ratem.
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? /
SCANNING. 99
2. J- ? ' -' ?
Tempus erat, vitrea quo primum terra pruina
Spargitur, et tectae fronde queruntur aves.
3.
Luna fuit: specto si quid nisi littora cernam;
Quod videant, oculi nil nisi littus habent.
*?
''
Nunc huc, nunc illuc, et utrdque sine ordine curro;
Alta puellares tardat arena pedes.
Mons fuit; apparent frutices in vertice rari;
Nunc scopulus raucis pendet adesus, aquis
5.
Ascendo; vires animus dabat; atque ita late
JEquora prospectu metior alta meo'.
Inde ego, nam ventis quoque sum crudelibus usa,
Vidi'praecipiti carbasa tenta noto.
6.
"Quo fugis? " exclamo, "scelerate, revertere, Theseu:
Flecte ratem; numerum non habet ilia suum. "
Haec ego; quod voci deerat, plangore replebam:
Verbera cum verbis mista fuere meis. .
7.
Quid faciam? quo sola ferar? vacat insula cultu:
Non hominum video, non ego facta boum.
Qmne latus terrae cingit mare. Navita nusquam;
Nulla per ambiguas puppis itura vias.
8.
Occurrunt animo pereundi mille figurae;
Morsque minus pcena;, quam mora mortis habet.
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? *(C) EXERCISES IN
Jam, jam venturos aut hac, aut suspicor iliac,
Qui lanient avido viscera dente, lupos:
9.
Forsitan et fulvos tellus alat ista leones;
Quis scit an haec saevas tigridas insula habet?
Et freta dicuntur magnas expellere phocas-.
Quid vetat et gladios per latus ire meum?
,10.
Si mare,, si terras, porrectaque littora vidi,
Multa mihi terra, multa minantur aquae.
Ccelum restabat: timeo simulacra deorum.
Destituor rapidis praeda cibusque feris.
11.
Ergo ego nec lacrymas matris moritura videbo?
Nec, mea qui digitis lumina condat, erit?
Spiritus infelix peregrinas ibit in auras?
Nec positos artus unget amica manus?
12.
Ossa superstabunt volucres inhumata marinx?
Haec sunt officiis digna sepulcra meis?
Ibis Cecropios portus; patriaque receptus
Cum steteris urbis celsus in arce tuae,
. IS.
Et bene narraris lethum taurique virique,
Sectaque per dubias saxea tecta vias,
Me quoque narrato sola tellure relictam.
Non ego sum titulis surripienda tuis.
Nec pater est jEgeus; nec tu Pittheidos ^ithrx
Filius: auctores saxa fretumquetui.
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? SCANNING. 41
14.
Dl facerent, ut me summa de puppe videres!
Movisset vultus mcesta figura tuos.
Nunc quoque non oculis, sed, qua potes, aspice mente
Haerentem scopulo, quern vaga pulsat aqua.
Aspice demissos lugentis in ore capillos;
Et tunicas lacrymis, sicut ab imbre, graves.
15.
Corpus, ut impulse segetes Aquilonibus, horret;
Litteraque articulo pressa tremente labat.
Non te per meritum, quoniam male cessit, adoro;
Debita sit facto gratia nulla meo;
Sed nec pcena quidem; si non ego causa salutis,
Non tamen est, cur sis tu mihi causa necis.
16.
Has tibi, plangendo lugubria pectora lassas,
Infelix tendo trans freta longa manus.
Hos tibi, qui superant, ostendo mcesta capillos.
Per lacrymas oro, quas tua facta movent,
Flecte ratem, Theseu, versoque relabere velo.
Si prius occidero, tu tamen ossa leges.
PART III.
VERSIFICATION.
CHAPTER I. --Cjesura.
C/? SCRA is a division or separation of a foot, occasioned by
the syllables, of which it is composed, belonging to differ-
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? 42 EXERCISES IN
ent words: it is a term applied also to the last syllable or
two last syllables of a word, when they form the first part
of a foot.
The word casura is derived from Caedo, casus, to cut off; its use
has been adopted in versification either because the syllable, to
which it is applied, is divided or cut oft' from the other syllables in
the word by the termination of the preceding foot, or because the
foot, in which the cfesura takes place, is divided or separated, being
composed of syllables belonging to different words.
The beauty of a verse depends in a great measure on the c<esura.
It connects with each other the different words, of which the
line is composed, and gives to it smoothness and harmony. It must
not therefore be considered merely as an ornament, but as an es-
sential requisite of every hexameter and pentameter verse. A line,
in which it is neglected, is not only destitute of all poetic beauty,
but can hardly be distinguished from prose, and unless on peculiar
occasions, in which harmony is designedly avoided, it is not admis-
sible into Latin poetry.
There are three kinds of caesura, the syllabic, the tro-
chaic, and the monosyllabic.
The syllabic caesura is that, in which the first part of
the divided foot consists of the last syllable of a word; as
Sylves\trem tenu|7 mu|sam mSdi|ta"rls a|vena. Virg.
The syllabic appears to be the principal caesura in Latin versifi-
cation, and but few harmonious lines can be found, in which it is
not introduced. If the ancients did not consider it indispensably
necessary, it is evident that they seldom ventured to write a verse
without it.
The syllabic caesura may take place in a heroic verse
at the triemimeris, penthemimeris, hephthemimeris, and
sometimes at the ennehimeris; as
Si ca. m\mus syl|yas, syl|u2e sint | consiile | dignae.
HiS \i\tm nh%\um mol|/I fu\\tus hya|clnth6. Virg.
The ancient grammarian; generally divided every line into half
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? VERSIFICATION. *S
feet, and from this division the preceding names have been intro-
duced. The triemimeris is that portion of a verse, which contains
its three first half feet; the penthemimeris is the part, which con-
tains five half feet; the hephthemimeris that, which contains
seven; and the ennehimeris that, which comprises nine half
feet.
The trochaic caesura is that, in which the first part of
the divided foot consists either of a long and short sylla-
ble remaining at the end of a word, or of an entire word
comprised of one long and one short syllable; as
? brtu\natus St | tile, de|os qui | novit a|grestes. Virg.
Although one syllabic caesura at least generally occurs in every
hexameter verse, yet the trochaic has nearly the same metrical
effect, and often appears to be the principal ca;sura in the verse;
as
Fata vo|cant ci)i\\ditque na|tantia | lumina | somnus. Virg.
In Horace and Virgil, about twenty lines may be found, in which
the trochaic caesura only occurs, and which are still not deficient in
harmony: as
Spargens ] humidi | mella s6|p6rife|rumque pS|pavSr. Viae
The trochaic caesura may take place in either of the first
five feet of a verse, but two successive trochaics must not
occur in the second and third, or in the third and fourth
feet; as
Talia | voce relfert, b\terque <\u2. \terque be^ati.
Arma pro|cul cur]rusque vT|rum mi[ratur X|nanes.
Alba Yi\gustra ca|dunt, vac|cinia | nigra lelguntiir.
Virg. ,
The monosyllabic ctesura is that, in which the first syl-
lable of the divided foot is a monosyllable; as
Hie Yir hic | est tTbi | quern prolmitti | sxpius | audis.
Virg.
The preceding is one of the few lines, in which no ca-sr. ra but
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? 44 EXERCISES IK
the monosyllabic occurs; the metrical effect of this caesura is by no
means so great as that of the syllabic or trochaic, hut many in-
stances may be found, in which it appears to be the principal
ciesura in the verse.
A caesura is not indispensably necessary in every foot of
si verse. Those lines, in which it most frequently occurs,
generally appear to be the most poetical, but for the sake
of that variety without which the most harmonious ar-
rangement 'of words would, soon become tedious, the
caesura is often omitted in one or more of the feet, and its
situation is frequently varied.
In the first foot of a verse, the caesura may generally be
omitted; as
Pasto|res ovi|um tene|ros de'pellere | fcetus.
Pauperis | It tugii|ri con]gestum | cespTte | culmen-
Virg.
In the second foot, the csesura is often omitted, but
when this omission takes place, the word, which begins
the foot, is generally of sufficient length to complete it,
and to leave a caesural syllable in the next foot; as
Squamea | convol\vens sub|lato | pectore J terga.
Virg.
The frequent recurrence of the verb Nescio as a dactyl, and of
the prepositions Inter and intra as spondees, forming the second
foot, appears on the first view to be inconsistent with the preced-
ing rule, but it is in reality quite agreeable with it. It has been ,
clearly ascertained that the preposition and its case were frequently
pronounced with one accent as one word, and there is reason
to suppose that Nescio was often connected in a similar manner
with the word, which followed it; thus the words Inter se were
? pronounced, and consequently regarded in versification, as though
they were written Inteise, and Nescio quis as though written
Nescioquis. A similar connection is not unusual in English
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? VERSIFICATION. 45
woids; thus Some body, is pronounced somebody; No body,
nobody; Can not, cannot.
The caesura is not so frequently omitted at the penthe-
mimeris, as it is in the other feet, and when it is omitted
in the third, it always occurs in the fourth, and generally
in the second foot : when this omission of the caesura at
the penthemimeris takes place, the third foot generally
consists of the two or three first syllables of a word, which
is finished in the next foot; as
Jussa mo|<< quae | sdrtl\tus non J perttflft | ullos.
VlRG.
In the fourth foot the caesura is not necessary, if there
is one at the penthemimeris; as
Pinguis St | Ingra|Ai preme|retur | caseus | urbi.
? VlRG.
The syllabic and monosyllabic caesuras are seldom in-
troduced after the fourth foot, but the trochaic often oc-
curs at the ennehimeris, and is in most instances conducive
to the harmony of the line; as
Saepe lelvl som|num sua|debit in|7re su|surro.
Hinc al|ta sub | rupe cajnet fron|(7a<or ad | auras.
VlRG.
When there is but one caesura in a verse, it is generally
in the third foot, sometimes in the fourth, but never in
the second; as
Quem mea | carminiliiis merallsset | fistula | caprum.
VlRG.
In a pentameter verse, a syllabic caesura generally takes
place at the penthemimeris, and a trochaic in the foot
preceding the final syllable in the second hemistich or
half verse; as
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? *6 EXERCISES IN
Nec queerer tar|<ios ( Ire re|llcta di|es.
Nil mihi | rescri|fow | attamen | Ipse velnl. Ovid.
There is sometimes a monosyllabic caesura at the pen-
themimeris of a pentameter, when the preceding word is
a monosyllable; as
Magna ta|men spes. | est | in boni|tatS de|I. Ovid.
The trochaic caesura is sometimes neglected in the foot
preceding the final syllable of a pentameter, and the verse
is concluded by a word of four or more syllables; as
Lis est | cum for|ma [ magna pu\dicit)\ee. Ovid.
The syllabic caesura sometimes lengthens a short sylla-
ble; as
Pectori|6Ss mhi|ans spi|rantia | consutft | exta. Virg.
The questions in the first eight of the following exer-
cises are designed to be answered by the pupil: the remain-
ing exercises in this chapter consist of lines, to which the
preceding observations on the casura are to be applied, and
which may be formed into hexameter or pentameter verses,
by a change of the position of one word in each line.
EXERCISES.
i
1.
What is meant by caesura?
Is attention to the caesura indispensably necessary in
Latin versification?
What are the principal advantages resulting from the
caesura?
How many kinds of caesura are there? Mention them.
: :. 2.
What is the syllabic caesura?
? ? Generated for (University of Chicago) on 2014-12-26 11:30 GMT / http://hdl. handle. net/2027/hvd. hwrgkf Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? VERSIFICATION. *7
"What caesura is termed trochaic?
What is a monosyllabic caesura?
How many syllabic caesuras are there in the following
line from Virgil;
Sic positae quoniam suaves miscetis odores i
3.
Are the caesuras in the following line from Virgil syl-
labic or trochaic caesuras;
Lumina labentem ccelo quae ducitis annum i
Which is considered the principal caesura in Latin
poetry?