Hlc licet impune
proferre
occultos dolores,
Si modo saxa sola queant tenere fidem.
Si modo saxa sola queant tenere fidem.
Latin - Bradley - Exercises in Latin Prosody
Virg.
Secre|tos mon|tes et in|ambiti|6sa co|kbat. Ovid.
A word of seven syllables may stand thus in a hexame-
ter line;
Juno|nis gravis | ira et in|exsatu|rabile | pectus.
At Dana|um proceres aga|memnoni|aeque pha|langes.
LaomS|dontiadsb bel|lumne in|ferre pa|ratis. Virg.
Many useful observations on the subject of this and the
preceding chapter may be found in the judicious and recon-
dite analysis of the hexameter in Dr. Carey's Latin Prosody.
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? 56 EXERCISES IN
The lines in the exercises, which follow, are designed to
exemplify the preceding observations, and may be formed
into verses by changing the arrangement of the words.
The words printed in Italics are either compound voids,
which must be divided, or words, which are designed to be
placed at the beginning of the next tine.
EXERCISES.
1.
Ego non falsa loquar: ter acutum ensem sustulit,
Ter recidit manus male sublato ense.
2.
Sed timor obstitit et pLetas ausis crudelibus,
Castaque dextra refugit mandatum opus.
3.
Cor pavet admonitu noctis sanguine temeratx,
Et subitus tremor praepedit ossa dextrae.
% 4.
P^que tacitus venit^circumdatus fuscis alis,
Somnus, et vana somnia incerto pede.
5.
Aures vacent lite, insanaque/wrg/a protinus absint:
--livida lingua, differ tuum opus.
6.
Navita non moritur fluctu, non miles cuspide:
Oppida, immunia funerei lethi, pollent.
7.
Iliados cantabitur conditor, atque Maronis
Altisoni carmina, facientia palmam dubiam.
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? VERSIFICATION. 57
8.
Qudcunque se medio agmine virgo furens tulit,
Hac Aruns subit, et tacitus lustrat vestigia.
9.
Tunc genitum Maia, qui reportet fervida dicta,
Imperat acciri. Cyllenius ales astitit,
Quatiens somniferam virgam, tectusque galero.
10.
Atlantiades paret dictis genitoris, et inde
SAma pedum propere illigat plantaribus alis,
Obnubitque comas, et galero astra temperat.
, 11-
Principio, mirantur naturam non reddere mare majuf,
quo sit aquarum tantus decursus,
Quo veniant omnia flumina ex omni parte.
12.
Jamque Titanis, surgens per confinia emeriti Phocbi,
late subvecta silenti mundo,
Tenuaverat gelidum aera rorifera biga.
13.
Tale tuum carmen nobis, poeta divine,
Quale fessis in gramine sopor; quale per aestum
Restinguere sitim saliente rivo dulcis aquae.
14.
Ut sylvae mutantur foliis in pronos annos,
Prima cadunt; ita vetus aetas verborum interit,
Et modd nata florent vigentque ritu juvenum.
15.
Hic radiant flores, et viva voluptas prati,
Variata suo ingenio; illic fulgentibus
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? 58 EXERCISES IN
Toris strata surgunt; hie mollis herba panditur,
Non abruptura soporem solicitum curis.
16.
Quod caret alterna requie, non est durabile.
Haec reparat vires, novat fessaque membra.
Arcus et arma tua e Dianae sunt imitanda tibi;
Si tendere nunquam cesses, erit mollis.
17.
^Iquorese aquae miscentur; aether caret ignibus,
Caecaque nox tenebris hyemisque suisque premitur. ~
Tamen discutiunt has, praebentque lumen micantia
Fulmina: undae ardescunt fulmineis ignibus.
18.
Movit et eoos recessus fama bellorum,
Qua Ganges colitur, qui solus in toto orbe
Audet solvere ostia contraria nascenti Phcebo,.
? et impellit fluctus in adversum Eurum.
19.
Hlc purpureum ver; hic circumfundit flumina varios
,humus flores; hlc Candida populus imminet antro;
et lentae vites texunt umbracula.
Huc ades: sine insani fluctus feriant littora.
20.
Dixerat: ille concutit pennas madidantes novo nectare,
et maritat glebas fcecundo rore.
Quaque volat, vernus color sequitur; turget in herbas
omnis humus,
----- medioque patent sereno convexa.
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? VERSIFICATION. 59
CHAPTER III. --Elision.
Elision is the cutting off of the final vowel or the two
final letters of a word, and is divided into synahepha and
ecthlipsis.
Synaljepha is the elision of a vowel or a diphthong at
the end of a word, when the following word begins with
a vowel or the aspirate h; as
Humida|solstitT|a atque hye|mes o|rate se|renas,
Agrico|l#; hyber|no lae|tissima | pulvSrS | farra.
Ecthlipsis is the elision of the consonant m with the
vowel preceding it, in the last syllable of a word, when
the following word begins with a vowel or the aspirate h;
as
Ille de|um y\tam accipi|et di|visquS vl|debit. ViRG.
The preceding definitions of synalspha and ecthlipsis must be
understood with some limitations. The final letters are elided or
omitted in scanning only, and not in writing nor [in the usual
mode of pronouncing a verse. Hence the two first lines her*
quoted from Virgil, though scanned with the vowels cut off, arc
always written and generally pronounced thus,
Humida solstitia atque hyemes orate serenas,
Agricolae; hyberno ketissima pulvere farra.
Two vowels at the end of a word are sometimes cut off, when
the next word begins with a vowel; as
Siellio et | luc'ifd|gis con|gesta cii|bilia | blattis. Vino.
Synalceplia never takes place in the words O, heu, ah, proh, va,
vali, and hei: it is also occasionally omitted by poetical licence
in other words; as
O pater, | b h5mi|num dq\ unique a? |terna po|testas.
Et suc|cus peco|ri, et ) lac sub|ducitur | aguls. Viro.
A long vowel or diphthong, when preserved from elision by
poetical licence, becomes common, but it is generally made short;
as' k
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? 60 EXERCISES IN
Ter sunt | c6nat>>|lm|p6nere' | Peli6 | Ossam.
Imple|runt mon|tes, fle|runt Rhod6|peiae | arces. Virg.
A vowel at the end of a verse is not, in general, cut off, when
the first word of the following verse begins with a vowel; but if
the pause, which intervenes between the lines, is not required
by the sense, but is merely that slight pause, which the end of
the verse necessarily occasions, the final vowel, as well as the con-
sonant m, is sometimes elided; as
Jactemur, doceas: ignari hominumque locorumjue
Rrramus, vento hue et vastis fluctibus acti.
Jamque iter emensi, turres ac tecta Latin orum
Ardua cernebant juvenes, muroque subibant. Virg.
When the final vowel of a word is elided, the effect of the sylla-
ble as a ctesura is hardly perceptible, and it ought not perhaps to be
regarded, in any instance, as a ere sural syllable.
The consonant t was often elided by the ancient poets, some-
times with the vowel preceding it, but more frequently alone, and
consequently with the final syllable of the word preserved; as
VidtO|lyrflpia | nunc sem|o con|fectus qui|esclt. Emnius.
A verse, in which there are more than two elisions, is
most commonly deficient in harmony; as the following
pentameter from Catullus;
Quam modo | qui me u\num at|que umcum a|mkum
habu|It.
Elisions may generally be introduced into a verse with-
out diminishing its harmony, when the final vowel of a
word is the same as that, which begins the next word, and
when the elided vowel is either naturally short or followed
by a long syllable; as
Ipse ego | cana le|gam tene|ra la|nugine | mala.
Tum casi|a atque ali|is in|texens | suavibiis | herbis.
Virg.
An elision has seldom a good effect when it occurs in
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? VERSIFICATION. 61
the first syllable of a verse, in the end of the fifth foot of
a hexameter, immediately after the penthemimer in a pen-
tameter, or in a word ending with a long vowel before a
word beginning with a short vowel; as
Nam iit feru|la cie|das meri|tum ma|jora sub|ire. Hor.
Loripe|dem rec|tus de|rideat | iEthi6|pm albus, Juv.
Trojane|fas! c6m|munesS|pulcrumEu|rop<2? Asi|<<que.
Me mise|ro eripu|is|tt' omnia | nostra bo|na. Catul.
Although elisions are often admitted into our own poetry, they
generally appear to us harsh and injurious to harmony in Latin
verse. There is reason to think that even by the Romans them-
selves, they were considered in some degree objectionable, though
their best poets sanctioned and adopted the use of them. It is
probable, however, that in the ancient pronunciation of these
vowels, much of their apparent harshness was removed. It is not
indeed possible to ascertain precisely what this pronunciation was;
but it is generally supposed either that the elided syllables were
altogether omitted, as they now are in scanning, or that the sound,
which was given to them, was so slight and imperfect, that it
could hardly be distinguished, and consequently interrupted but
little the measure of the verse.
The figure ecthlipsis, or the elision of the final m, has in our
pronunciation a still harsher effect than the elision of the vowel
only, and appears on the first view to be a peculiarity in Latin
poetry, for which it is impossible to account. Dr. Carey, however,
in his ingenious remarks on ecthlipsis, has assigned a satisfactory
reason for the origin and frequent recurrence of this figure. The
Romans, he observes, did not give to the consonant m that . full
and very audible pronunciation, which is given to it ia the English
language; but "they gave to it a slight nasal sound, such as our
French neighbours give to it in the word Faim, and as the Portu-
guese give to it even in Latin words. " This supposition is rendered
probable, and indeed almost confirmed, by the common change of
this consonant into n, and by the frequent omission of it; thus, in
Lat. Pr. F
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? 62 EXERCISES IN
words derived from the Greek, the terminations ov, i>, and ov, became
in Latin am, im, and on or om; and thus also Tusum is written
for tunsum, Passum for pansum, Fas for fans, Nefas for nefans,
Conjux for conjunx, Toties for totiens. It has also been remarked
that Greek names in cuv sometimes dropped the final >>in Latin and
sometimes retained it, without any apparent rule or reason for its
omission in the one case or its retention in the other; thus
moi5TM>> became Pluto, Aaxun Laco, Xslfm Chiron. Hence it may be
inferred that the Romans gave the consonant m or n a pronunciation
so slight, that it could not always be distinguished, and that its
sound at the end of a word in poetry was therefore too feehle to
preserve itself and the preceding vowel from elision.
The exercises, which follow, are designed to exemplify
the observations in the former chapters on casura and
arrangement, as well as the remarks on elision in this
chapter: the introduction of synalapha or ecthlipsis will
not therefore be sufficient to form them into verses, without
a change in the position of the words. The sentences in
English are intended to be translated into Latin verse, by
an application of the rules of syntax, as well as of prosody,
to the corresponding words in Latin, which follow them:
in these exercises a change in the arrangement of the words
is not necessary.
EXERCISES.
1.
Nempc sylva inter varias nutritur columnas,
Laudaturque domus, quae prospicit longos agros.
2.
Vivite felices, et vivite memores nostri,
Sire erimus, seu fata volentnos fuisse.
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? VERSIFICATION. 63
S.
Non pigeat agnamve fcetumve capellae sinu,
Oblita matre desertwnz, referre domum.
4.
Regumque ducumque res gestae, et tristia bella,
Homerus monstravit quo numero possent scribi.
5.
Addictus jurare in verba nullius magistri,
Deferor hospes, quocunque tempestas rapit me.
6.
Post ver, robustior annus transit in aestatem,
Fitque valens juvenis: enim neque robustior aetas
Ulla nec uberior, nec ulla est, quae magis aestuet.
7.
At nisi pectus purgatum est, quae praelia nobis!
Tum scindunt hominem cupidinis quantae acres
Curae solicitum! quantique timores perinde!
8.
Poma quoque, ut primum sensere valentes truncos,
Et habuere suas vires, raptim ad sidera
Nituntur propria vi, haud indiga nostras opisque.
9.
Haec loca certe deserta et taciturna querenti,
Et aura Zephyri possidet vacuum nemus.
Hlc licet impune proferre occultos dolores,
Si modo saxa sola queant tenere fidem.
,10.
Nee inclementia rigidi cccli conterret cum,
Nec frigida vis Boreae, mina e hyemisque.
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? 6* EXERCISES IN
Statim axe verso, quin exit protinus in auras,
Ut ferat laeta nuncia instantis veris.
11.
Dissensuque rumor alitur; ceu murmurat alti
Pelagi impacata quies, cum, fracto flamine,
Adhuc durat saevitque tumor, per dubiumque aestum
Lassa vestigia recedentis venti fluitant.
12.
Aut si fata movent, paratur orbi generique
Humano lues matura; dehiscent terrene,
Subsidentque urbes? an fervidus aer toilet temperiem ? infida tellus negabit segetes?
13.
Utque, viribus sumtis in cursu, solent ire
Pectore in arma praetentaque tela ferl leones;
Sic ubi unda admiserat se ventis coortis,
In arma ratis ibat, erat multoque altior illis.
14.
Tune potes audire murmura vesani ponti fortis?
et potes jacere in dura nave?
Tu fulcire positas pruinas teneris pedibus?
Tu, Cynthia, potes ferre insolitas nives?
J 5.
Qualis ubi Boreas erupit ab Arctois antris,
Perverrens aerios campos rapido turbine,
It ferus ccelo, et insequitur piceas nubes toto aethere,
dant victa locum et cedunt cava nubila.
16.
Sunt dukes herbae; sunt, quae mitescere flamma
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? VERSIFICATION. 65
Mollirique queant: nec lacteus humor eripitur vobis,
nec mella redolentia florem thymi.
Prodiga tellus suggerit divitias alimentaque mitia;atque prabet epulas sine caede et sanguine.
17.
And now ambassadors came from the city of Lati-
nus, Crowned with branches of olive, and supplicating
favor.
Jamque orator adsum ex urbs Latinus,
Velatus ramus olea, veniaque rogans.
18.
Scarcely had the next rising day fringed the tops of the
mountains with light, When first from the deep ocean the
horses of the sun raise themselves, And breathe forth the
light of day from their panting nostrils.
Posterus vix sumitius spargo lumen mons
Ortus dies, cum primum altus sui gurges tollo
Sol equus, luxque elatus naris efflo.
CHAP. IV. --Syntresis, Syncope, and Apocope.
Synjeresis is the contraction of two syllables into one; as
Alveo, pronounced as a dissyllable.
Synaeresis often takes place in the words Antehac, de-
hinc, dein, deinde, dii, diis, ii, iidem, iisdem, proinde,
semianimis, semihomo; in Greek genitives in ei; and
in several tenses of the verbs Anteambulo, anteo, desum,
and suesco; as
Dii meli|ora ve|llnt, quan|quam non | Ista pre|canda.
Qui can|dore ni|ves an|tment | cursibiis ] auras.
Deist jam|terra fu|g? pela|gus Tro|jamne pe|temus.
*,
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? 66 EXERCISES IN
Unius I 6b no|xam et furi|as A|jacis 0|Ile7. Virg.
This figure occasionally takes place in many words, which have
not been mentioned in the preceding list; btit in almost every
instance of its occurrence, the first syllable affected by it ends in
the vowel e or i. Its occurrence in the datives Cui and huic
is so uniform, that they are generally considered as monosyl-
lables.
Synaeresis may often be referred to synalaepha; thus in the se-
cond and third of the preceding lines from Virgil, the vowel e should
perhaps be considered as elided, rather than as uniting with the
following vowel to form one syllable. This remark may be applied
to Semianimis, semihomo, and other compound words; and it is
confirmed by the quantity of the vowel, which begins the latter part
of the compound word. This vowel often retains its original quan-
tity, when that quantity is short, whereas if the two vowels were
united by synaeresis, instead of the first being elided by synalaepha,
the syllable would in every instance necessarily become long.
To synasresis may be referred the frequent change of the vowels
i and u into the consonants,;' and v; as in the genitives Cujus and
hujus, which are always used for Cuius and huius, and Maja and
Dejanira, which are sometimes substituted for Maia and Deia<<
nira.
Syncope is the omission of a letter or a syllable in the
middle of a word; as Amarat, amantum, for amaverat
and amantium.
The occurrence of this figure in the Latin language is so fre-
quent, that even previously to the Augustan age, many of its
'words had ceased to be used in any but their syncopated form.
There are, however, some words, in which the introduction of syn-
cope was not so uniform, and which, though sometimes contract-
ed, still retain in general the original number of trftir syllables.
It is to the contraction of these words only that the term syncope
is now applied.
The words,which are the most frequently contracted
by syncope, arethe preter tenses of verbs, asAmasti for
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? *? VERSIFICATION. 67
amavisti; the participles of compound verbs, as Repos-
tum for Repositum; genitives plural, as Deum for deorum;
and words, which have a u in the penultimate before the
consonant I, as Vinclum for vinculum.
Apocope is the omission of the final vowel or syllable of
a word, before another word beginning with a conso-
nant; as Tuguri for tugurii.
The words, which are most commonly contracted by
apocope, are cases in ii, and enclitics affixed to other
words; as Pecull for peculii, Men' for mene.
A vowel was sometimes cut off in the beginning of a word by
the figure aphaeresis, as st for est; but this contraction was seldom
used by the poets of the Augustan age.
The contraction of one word at least in each of the fol-
lowing exercises is necessary, in order to form them into
verses. The exercises, which are not translated, require a
change in the position of the words, but in the English exer-
cises this alteration of the arrangement will not be found
necessary.
EXERCISES.
1.
Rure levis apis ingerit flores verno alveo,
Ut sedula compleat favos dulci melle.
2.
Pratereo sapiens argentea : periculum tolle,
Jam vaga natura prosiliet fraenis remotis.
3.
Super quae ipse jacens, more hirsuti leonis,
Visceraque, et carnes, ossa oblisisque medullis,
Semz'animesque artus, condebat in avidam alvum.
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? 68 EXERCISES IN
4.
Agros purgamus, agrestes purgamus, dii patrii;
Vos pellite mala de nostris limitibus.
Neu seges herbis fallacibus eludat messem;
, Neu segnior agha timeat celeres lupos.
5.
Cum conditor urbis digereret tempora, in anno
Suo constituit bis quinque menses esse.
Romule, scilicet no>>eras arma magis quam sidera;
Curaque major erat vincere finitimos.
6.
Caprificus findit marmora Messala? , et audax
Mulio ridet dimidios equos Crispi.
At nec furta nocent chartis, et prosunt saecula,
Solaque haec monumenta non noverunt mori.
7.
Perpetuoque comans oliva jam deflorescit;
Et perosa diva fugit aerisonam tubam:
Io fugit terris, et jam virgo non ultima
Creditur justa volavisse ad superas domos.
8.
Tu mihi, currenti ad Candida praescripta supreme
callis,
'Spatium prajmonstra, Calliope, callida musa,
requies hominum, divorumque voluptas;
Ut capiam, te duce, coronam cum insigni laude.
9. '
Ille saucius pectus gravi vulnere venantium,
Turn demum arma nibvet leo; gaudetque comantes
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? VERSIFICATION. 69
Toros cervice excutiens, latronis fixumque
Telum impavidus frangit, et ore cruento fremit.
10.
Then was life sweet to me; nor had I any knowledge
of cruel Arms, nor heard with a trembling heart the
trumpet's sound.
Tunc ego vita foret dulcis; nec tristis novissem
Anna, nee audivissem cor micans tuba.
11.
Forcible, and perspicuous, and very much resembling a
limpid stream, He will pour out his treasures and enrich
Latium with a copious language.
VeAemens, et liquidus, purusque simillimus amnis,
Fundo opes, Latiumque beo dives lingua.
12.
Why is any man in want, who has not deserved po-
verty, while you are rich? Why Are the ancient temples
of the. gods falling to ruin? Why, O wicked man, Do
you not, for your dear country, take something from so
great a hoard?
Cur egeo indignus quisquam, te divite? Quare
Templum ruo antiquus dens? Cur, improbus, cants
Non aliquis patria tantus emetior acervus?
13.
Then Mercury took in his hand the wand, by which he
had been accustomed to chase away sweet Dreams, and
to bring them back again; by which he had been wont
to enter the gloomy Regions of the dead, and again to
animate lifeless shades. \.
Turn dextra virga insero, qui pello dulcis
Aut suadeo iterum somnus, qui niger subeo
Tartara, et exanguis animo assuesco umbra.
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? 70 EXERCISES IN
14.
The Zephyrs had heard the voice and the sighs of the
complaining shepherd, And the winds sighed with him in
mournful sounds: The river had heard him, and an echo-
ing murmur to his murmurs The water returned, and a
. complaint to his complaints.
Audio Zephyrus vox gemitusque dolens,
Et moestus ventus congerao sonus:
Audio rivus, resonusque ad murmur murmur,
Et questus ad questus, ingemino aqua.
15.
Streams of silver flow over the verdant plains; The
sand, richer than Hesperian Tagus, appears as gold.
Through the odoriferous riches the gentle air of the Ze-
phyr breathes, A dewy air, springing up among innumer-
able roses.
Flumen vernans lambo argenteus campus;
Ditior Hesperius, flaveo arena, Tagus.
Serpo odoriferus per opes levis. aura Favonius,
Aura, sub innumerus, humidus, natus rosa.
16.
Then the poet, rejoicing in the prosperous state of his
country, Sought again the harmonious strings of his ne-
glected lyre; And having attuned with a slender quill its
idle strings, He swept the renowned instrument of ivory
with a joyful hand.
Turn, patria festus laitatus tempos, vates
Desuetus repeto filum canorus lyra;
Et, reses lenis modulatus pecien nervus
Pollex festivus nobilis duco ebur.
17.
Have you seen (surely you often see) that the droop-
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? VERSIFICATION. 71
ing lilies wither, Which a shower of rain beats down?
Thus did she waste away with a slow disease, thus
did she grow pale, Her last day now drawing near its
end.
Videone (quin saepe video) ut languidus marceo
Lilium, qui prsegravo imber aqua?
Lentus sic pereo tabum, sic palleo ille,
Ad finis extremus jam properans dies.
18.
The ship, weighed down by the slaughter of the men,
and filled with much blood, Receives frequent blows on
its curved side: But after it let in the sea at its leaking^
joints, Filled to its highest parts, it sunk in the waves.
Strages vir cumulatus ratis, multusque cruor
Plenus, per obliquus creber latus accipio ictus:
At postquam ruptus pelagus compages haurio,
Ad summus repletus forus, descendo in unda.
19.
He admires at a distance the arms an d empty chariots
of heroes. Their spears stand fixed in the ground, and at
liberty in different places Through the plains their horses
feed: that care of their chariots And of their arms, which
they had when alive, that care their shining Horses to
train up, the same follows them, though interred in the
earth.
Anna procul currusque vir miror inanes.
Sto terra defixus hasta, passimque solutus
Per campus pascor equus: qui gratia currus
Armaque fuit vi,vis, qui cura nitens
Pasco equus, idem, sequor tcllus repositus.
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? 72 EXERCISES IN
CHAPTER V.
Diuresis, Episnthesis, and Paragoge.
Dijeresis is the division of one syllable into two; as
Aura, aurai.
Secre|tos mon|tes et in|ambiti|6sa co|kbat. Ovid.
A word of seven syllables may stand thus in a hexame-
ter line;
Juno|nis gravis | ira et in|exsatu|rabile | pectus.
At Dana|um proceres aga|memnoni|aeque pha|langes.
LaomS|dontiadsb bel|lumne in|ferre pa|ratis. Virg.
Many useful observations on the subject of this and the
preceding chapter may be found in the judicious and recon-
dite analysis of the hexameter in Dr. Carey's Latin Prosody.
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? 56 EXERCISES IN
The lines in the exercises, which follow, are designed to
exemplify the preceding observations, and may be formed
into verses by changing the arrangement of the words.
The words printed in Italics are either compound voids,
which must be divided, or words, which are designed to be
placed at the beginning of the next tine.
EXERCISES.
1.
Ego non falsa loquar: ter acutum ensem sustulit,
Ter recidit manus male sublato ense.
2.
Sed timor obstitit et pLetas ausis crudelibus,
Castaque dextra refugit mandatum opus.
3.
Cor pavet admonitu noctis sanguine temeratx,
Et subitus tremor praepedit ossa dextrae.
% 4.
P^que tacitus venit^circumdatus fuscis alis,
Somnus, et vana somnia incerto pede.
5.
Aures vacent lite, insanaque/wrg/a protinus absint:
--livida lingua, differ tuum opus.
6.
Navita non moritur fluctu, non miles cuspide:
Oppida, immunia funerei lethi, pollent.
7.
Iliados cantabitur conditor, atque Maronis
Altisoni carmina, facientia palmam dubiam.
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? VERSIFICATION. 57
8.
Qudcunque se medio agmine virgo furens tulit,
Hac Aruns subit, et tacitus lustrat vestigia.
9.
Tunc genitum Maia, qui reportet fervida dicta,
Imperat acciri. Cyllenius ales astitit,
Quatiens somniferam virgam, tectusque galero.
10.
Atlantiades paret dictis genitoris, et inde
SAma pedum propere illigat plantaribus alis,
Obnubitque comas, et galero astra temperat.
, 11-
Principio, mirantur naturam non reddere mare majuf,
quo sit aquarum tantus decursus,
Quo veniant omnia flumina ex omni parte.
12.
Jamque Titanis, surgens per confinia emeriti Phocbi,
late subvecta silenti mundo,
Tenuaverat gelidum aera rorifera biga.
13.
Tale tuum carmen nobis, poeta divine,
Quale fessis in gramine sopor; quale per aestum
Restinguere sitim saliente rivo dulcis aquae.
14.
Ut sylvae mutantur foliis in pronos annos,
Prima cadunt; ita vetus aetas verborum interit,
Et modd nata florent vigentque ritu juvenum.
15.
Hic radiant flores, et viva voluptas prati,
Variata suo ingenio; illic fulgentibus
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? 58 EXERCISES IN
Toris strata surgunt; hie mollis herba panditur,
Non abruptura soporem solicitum curis.
16.
Quod caret alterna requie, non est durabile.
Haec reparat vires, novat fessaque membra.
Arcus et arma tua e Dianae sunt imitanda tibi;
Si tendere nunquam cesses, erit mollis.
17.
^Iquorese aquae miscentur; aether caret ignibus,
Caecaque nox tenebris hyemisque suisque premitur. ~
Tamen discutiunt has, praebentque lumen micantia
Fulmina: undae ardescunt fulmineis ignibus.
18.
Movit et eoos recessus fama bellorum,
Qua Ganges colitur, qui solus in toto orbe
Audet solvere ostia contraria nascenti Phcebo,.
? et impellit fluctus in adversum Eurum.
19.
Hlc purpureum ver; hic circumfundit flumina varios
,humus flores; hlc Candida populus imminet antro;
et lentae vites texunt umbracula.
Huc ades: sine insani fluctus feriant littora.
20.
Dixerat: ille concutit pennas madidantes novo nectare,
et maritat glebas fcecundo rore.
Quaque volat, vernus color sequitur; turget in herbas
omnis humus,
----- medioque patent sereno convexa.
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? VERSIFICATION. 59
CHAPTER III. --Elision.
Elision is the cutting off of the final vowel or the two
final letters of a word, and is divided into synahepha and
ecthlipsis.
Synaljepha is the elision of a vowel or a diphthong at
the end of a word, when the following word begins with
a vowel or the aspirate h; as
Humida|solstitT|a atque hye|mes o|rate se|renas,
Agrico|l#; hyber|no lae|tissima | pulvSrS | farra.
Ecthlipsis is the elision of the consonant m with the
vowel preceding it, in the last syllable of a word, when
the following word begins with a vowel or the aspirate h;
as
Ille de|um y\tam accipi|et di|visquS vl|debit. ViRG.
The preceding definitions of synalspha and ecthlipsis must be
understood with some limitations. The final letters are elided or
omitted in scanning only, and not in writing nor [in the usual
mode of pronouncing a verse. Hence the two first lines her*
quoted from Virgil, though scanned with the vowels cut off, arc
always written and generally pronounced thus,
Humida solstitia atque hyemes orate serenas,
Agricolae; hyberno ketissima pulvere farra.
Two vowels at the end of a word are sometimes cut off, when
the next word begins with a vowel; as
Siellio et | luc'ifd|gis con|gesta cii|bilia | blattis. Vino.
Synalceplia never takes place in the words O, heu, ah, proh, va,
vali, and hei: it is also occasionally omitted by poetical licence
in other words; as
O pater, | b h5mi|num dq\ unique a? |terna po|testas.
Et suc|cus peco|ri, et ) lac sub|ducitur | aguls. Viro.
A long vowel or diphthong, when preserved from elision by
poetical licence, becomes common, but it is generally made short;
as' k
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? 60 EXERCISES IN
Ter sunt | c6nat>>|lm|p6nere' | Peli6 | Ossam.
Imple|runt mon|tes, fle|runt Rhod6|peiae | arces. Virg.
A vowel at the end of a verse is not, in general, cut off, when
the first word of the following verse begins with a vowel; but if
the pause, which intervenes between the lines, is not required
by the sense, but is merely that slight pause, which the end of
the verse necessarily occasions, the final vowel, as well as the con-
sonant m, is sometimes elided; as
Jactemur, doceas: ignari hominumque locorumjue
Rrramus, vento hue et vastis fluctibus acti.
Jamque iter emensi, turres ac tecta Latin orum
Ardua cernebant juvenes, muroque subibant. Virg.
When the final vowel of a word is elided, the effect of the sylla-
ble as a ctesura is hardly perceptible, and it ought not perhaps to be
regarded, in any instance, as a ere sural syllable.
The consonant t was often elided by the ancient poets, some-
times with the vowel preceding it, but more frequently alone, and
consequently with the final syllable of the word preserved; as
VidtO|lyrflpia | nunc sem|o con|fectus qui|esclt. Emnius.
A verse, in which there are more than two elisions, is
most commonly deficient in harmony; as the following
pentameter from Catullus;
Quam modo | qui me u\num at|que umcum a|mkum
habu|It.
Elisions may generally be introduced into a verse with-
out diminishing its harmony, when the final vowel of a
word is the same as that, which begins the next word, and
when the elided vowel is either naturally short or followed
by a long syllable; as
Ipse ego | cana le|gam tene|ra la|nugine | mala.
Tum casi|a atque ali|is in|texens | suavibiis | herbis.
Virg.
An elision has seldom a good effect when it occurs in
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? VERSIFICATION. 61
the first syllable of a verse, in the end of the fifth foot of
a hexameter, immediately after the penthemimer in a pen-
tameter, or in a word ending with a long vowel before a
word beginning with a short vowel; as
Nam iit feru|la cie|das meri|tum ma|jora sub|ire. Hor.
Loripe|dem rec|tus de|rideat | iEthi6|pm albus, Juv.
Trojane|fas! c6m|munesS|pulcrumEu|rop<2? Asi|<<que.
Me mise|ro eripu|is|tt' omnia | nostra bo|na. Catul.
Although elisions are often admitted into our own poetry, they
generally appear to us harsh and injurious to harmony in Latin
verse. There is reason to think that even by the Romans them-
selves, they were considered in some degree objectionable, though
their best poets sanctioned and adopted the use of them. It is
probable, however, that in the ancient pronunciation of these
vowels, much of their apparent harshness was removed. It is not
indeed possible to ascertain precisely what this pronunciation was;
but it is generally supposed either that the elided syllables were
altogether omitted, as they now are in scanning, or that the sound,
which was given to them, was so slight and imperfect, that it
could hardly be distinguished, and consequently interrupted but
little the measure of the verse.
The figure ecthlipsis, or the elision of the final m, has in our
pronunciation a still harsher effect than the elision of the vowel
only, and appears on the first view to be a peculiarity in Latin
poetry, for which it is impossible to account. Dr. Carey, however,
in his ingenious remarks on ecthlipsis, has assigned a satisfactory
reason for the origin and frequent recurrence of this figure. The
Romans, he observes, did not give to the consonant m that . full
and very audible pronunciation, which is given to it ia the English
language; but "they gave to it a slight nasal sound, such as our
French neighbours give to it in the word Faim, and as the Portu-
guese give to it even in Latin words. " This supposition is rendered
probable, and indeed almost confirmed, by the common change of
this consonant into n, and by the frequent omission of it; thus, in
Lat. Pr. F
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? 62 EXERCISES IN
words derived from the Greek, the terminations ov, i>, and ov, became
in Latin am, im, and on or om; and thus also Tusum is written
for tunsum, Passum for pansum, Fas for fans, Nefas for nefans,
Conjux for conjunx, Toties for totiens. It has also been remarked
that Greek names in cuv sometimes dropped the final >>in Latin and
sometimes retained it, without any apparent rule or reason for its
omission in the one case or its retention in the other; thus
moi5TM>> became Pluto, Aaxun Laco, Xslfm Chiron. Hence it may be
inferred that the Romans gave the consonant m or n a pronunciation
so slight, that it could not always be distinguished, and that its
sound at the end of a word in poetry was therefore too feehle to
preserve itself and the preceding vowel from elision.
The exercises, which follow, are designed to exemplify
the observations in the former chapters on casura and
arrangement, as well as the remarks on elision in this
chapter: the introduction of synalapha or ecthlipsis will
not therefore be sufficient to form them into verses, without
a change in the position of the words. The sentences in
English are intended to be translated into Latin verse, by
an application of the rules of syntax, as well as of prosody,
to the corresponding words in Latin, which follow them:
in these exercises a change in the arrangement of the words
is not necessary.
EXERCISES.
1.
Nempc sylva inter varias nutritur columnas,
Laudaturque domus, quae prospicit longos agros.
2.
Vivite felices, et vivite memores nostri,
Sire erimus, seu fata volentnos fuisse.
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? VERSIFICATION. 63
S.
Non pigeat agnamve fcetumve capellae sinu,
Oblita matre desertwnz, referre domum.
4.
Regumque ducumque res gestae, et tristia bella,
Homerus monstravit quo numero possent scribi.
5.
Addictus jurare in verba nullius magistri,
Deferor hospes, quocunque tempestas rapit me.
6.
Post ver, robustior annus transit in aestatem,
Fitque valens juvenis: enim neque robustior aetas
Ulla nec uberior, nec ulla est, quae magis aestuet.
7.
At nisi pectus purgatum est, quae praelia nobis!
Tum scindunt hominem cupidinis quantae acres
Curae solicitum! quantique timores perinde!
8.
Poma quoque, ut primum sensere valentes truncos,
Et habuere suas vires, raptim ad sidera
Nituntur propria vi, haud indiga nostras opisque.
9.
Haec loca certe deserta et taciturna querenti,
Et aura Zephyri possidet vacuum nemus.
Hlc licet impune proferre occultos dolores,
Si modo saxa sola queant tenere fidem.
,10.
Nee inclementia rigidi cccli conterret cum,
Nec frigida vis Boreae, mina e hyemisque.
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? 6* EXERCISES IN
Statim axe verso, quin exit protinus in auras,
Ut ferat laeta nuncia instantis veris.
11.
Dissensuque rumor alitur; ceu murmurat alti
Pelagi impacata quies, cum, fracto flamine,
Adhuc durat saevitque tumor, per dubiumque aestum
Lassa vestigia recedentis venti fluitant.
12.
Aut si fata movent, paratur orbi generique
Humano lues matura; dehiscent terrene,
Subsidentque urbes? an fervidus aer toilet temperiem ? infida tellus negabit segetes?
13.
Utque, viribus sumtis in cursu, solent ire
Pectore in arma praetentaque tela ferl leones;
Sic ubi unda admiserat se ventis coortis,
In arma ratis ibat, erat multoque altior illis.
14.
Tune potes audire murmura vesani ponti fortis?
et potes jacere in dura nave?
Tu fulcire positas pruinas teneris pedibus?
Tu, Cynthia, potes ferre insolitas nives?
J 5.
Qualis ubi Boreas erupit ab Arctois antris,
Perverrens aerios campos rapido turbine,
It ferus ccelo, et insequitur piceas nubes toto aethere,
dant victa locum et cedunt cava nubila.
16.
Sunt dukes herbae; sunt, quae mitescere flamma
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? VERSIFICATION. 65
Mollirique queant: nec lacteus humor eripitur vobis,
nec mella redolentia florem thymi.
Prodiga tellus suggerit divitias alimentaque mitia;atque prabet epulas sine caede et sanguine.
17.
And now ambassadors came from the city of Lati-
nus, Crowned with branches of olive, and supplicating
favor.
Jamque orator adsum ex urbs Latinus,
Velatus ramus olea, veniaque rogans.
18.
Scarcely had the next rising day fringed the tops of the
mountains with light, When first from the deep ocean the
horses of the sun raise themselves, And breathe forth the
light of day from their panting nostrils.
Posterus vix sumitius spargo lumen mons
Ortus dies, cum primum altus sui gurges tollo
Sol equus, luxque elatus naris efflo.
CHAP. IV. --Syntresis, Syncope, and Apocope.
Synjeresis is the contraction of two syllables into one; as
Alveo, pronounced as a dissyllable.
Synaeresis often takes place in the words Antehac, de-
hinc, dein, deinde, dii, diis, ii, iidem, iisdem, proinde,
semianimis, semihomo; in Greek genitives in ei; and
in several tenses of the verbs Anteambulo, anteo, desum,
and suesco; as
Dii meli|ora ve|llnt, quan|quam non | Ista pre|canda.
Qui can|dore ni|ves an|tment | cursibiis ] auras.
Deist jam|terra fu|g? pela|gus Tro|jamne pe|temus.
*,
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? 66 EXERCISES IN
Unius I 6b no|xam et furi|as A|jacis 0|Ile7. Virg.
This figure occasionally takes place in many words, which have
not been mentioned in the preceding list; btit in almost every
instance of its occurrence, the first syllable affected by it ends in
the vowel e or i. Its occurrence in the datives Cui and huic
is so uniform, that they are generally considered as monosyl-
lables.
Synaeresis may often be referred to synalaepha; thus in the se-
cond and third of the preceding lines from Virgil, the vowel e should
perhaps be considered as elided, rather than as uniting with the
following vowel to form one syllable. This remark may be applied
to Semianimis, semihomo, and other compound words; and it is
confirmed by the quantity of the vowel, which begins the latter part
of the compound word. This vowel often retains its original quan-
tity, when that quantity is short, whereas if the two vowels were
united by synaeresis, instead of the first being elided by synalaepha,
the syllable would in every instance necessarily become long.
To synasresis may be referred the frequent change of the vowels
i and u into the consonants,;' and v; as in the genitives Cujus and
hujus, which are always used for Cuius and huius, and Maja and
Dejanira, which are sometimes substituted for Maia and Deia<<
nira.
Syncope is the omission of a letter or a syllable in the
middle of a word; as Amarat, amantum, for amaverat
and amantium.
The occurrence of this figure in the Latin language is so fre-
quent, that even previously to the Augustan age, many of its
'words had ceased to be used in any but their syncopated form.
There are, however, some words, in which the introduction of syn-
cope was not so uniform, and which, though sometimes contract-
ed, still retain in general the original number of trftir syllables.
It is to the contraction of these words only that the term syncope
is now applied.
The words,which are the most frequently contracted
by syncope, arethe preter tenses of verbs, asAmasti for
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? *? VERSIFICATION. 67
amavisti; the participles of compound verbs, as Repos-
tum for Repositum; genitives plural, as Deum for deorum;
and words, which have a u in the penultimate before the
consonant I, as Vinclum for vinculum.
Apocope is the omission of the final vowel or syllable of
a word, before another word beginning with a conso-
nant; as Tuguri for tugurii.
The words, which are most commonly contracted by
apocope, are cases in ii, and enclitics affixed to other
words; as Pecull for peculii, Men' for mene.
A vowel was sometimes cut off in the beginning of a word by
the figure aphaeresis, as st for est; but this contraction was seldom
used by the poets of the Augustan age.
The contraction of one word at least in each of the fol-
lowing exercises is necessary, in order to form them into
verses. The exercises, which are not translated, require a
change in the position of the words, but in the English exer-
cises this alteration of the arrangement will not be found
necessary.
EXERCISES.
1.
Rure levis apis ingerit flores verno alveo,
Ut sedula compleat favos dulci melle.
2.
Pratereo sapiens argentea : periculum tolle,
Jam vaga natura prosiliet fraenis remotis.
3.
Super quae ipse jacens, more hirsuti leonis,
Visceraque, et carnes, ossa oblisisque medullis,
Semz'animesque artus, condebat in avidam alvum.
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? 68 EXERCISES IN
4.
Agros purgamus, agrestes purgamus, dii patrii;
Vos pellite mala de nostris limitibus.
Neu seges herbis fallacibus eludat messem;
, Neu segnior agha timeat celeres lupos.
5.
Cum conditor urbis digereret tempora, in anno
Suo constituit bis quinque menses esse.
Romule, scilicet no>>eras arma magis quam sidera;
Curaque major erat vincere finitimos.
6.
Caprificus findit marmora Messala? , et audax
Mulio ridet dimidios equos Crispi.
At nec furta nocent chartis, et prosunt saecula,
Solaque haec monumenta non noverunt mori.
7.
Perpetuoque comans oliva jam deflorescit;
Et perosa diva fugit aerisonam tubam:
Io fugit terris, et jam virgo non ultima
Creditur justa volavisse ad superas domos.
8.
Tu mihi, currenti ad Candida praescripta supreme
callis,
'Spatium prajmonstra, Calliope, callida musa,
requies hominum, divorumque voluptas;
Ut capiam, te duce, coronam cum insigni laude.
9. '
Ille saucius pectus gravi vulnere venantium,
Turn demum arma nibvet leo; gaudetque comantes
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? VERSIFICATION. 69
Toros cervice excutiens, latronis fixumque
Telum impavidus frangit, et ore cruento fremit.
10.
Then was life sweet to me; nor had I any knowledge
of cruel Arms, nor heard with a trembling heart the
trumpet's sound.
Tunc ego vita foret dulcis; nec tristis novissem
Anna, nee audivissem cor micans tuba.
11.
Forcible, and perspicuous, and very much resembling a
limpid stream, He will pour out his treasures and enrich
Latium with a copious language.
VeAemens, et liquidus, purusque simillimus amnis,
Fundo opes, Latiumque beo dives lingua.
12.
Why is any man in want, who has not deserved po-
verty, while you are rich? Why Are the ancient temples
of the. gods falling to ruin? Why, O wicked man, Do
you not, for your dear country, take something from so
great a hoard?
Cur egeo indignus quisquam, te divite? Quare
Templum ruo antiquus dens? Cur, improbus, cants
Non aliquis patria tantus emetior acervus?
13.
Then Mercury took in his hand the wand, by which he
had been accustomed to chase away sweet Dreams, and
to bring them back again; by which he had been wont
to enter the gloomy Regions of the dead, and again to
animate lifeless shades. \.
Turn dextra virga insero, qui pello dulcis
Aut suadeo iterum somnus, qui niger subeo
Tartara, et exanguis animo assuesco umbra.
? ? 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
? 70 EXERCISES IN
14.
The Zephyrs had heard the voice and the sighs of the
complaining shepherd, And the winds sighed with him in
mournful sounds: The river had heard him, and an echo-
ing murmur to his murmurs The water returned, and a
. complaint to his complaints.
Audio Zephyrus vox gemitusque dolens,
Et moestus ventus congerao sonus:
Audio rivus, resonusque ad murmur murmur,
Et questus ad questus, ingemino aqua.
15.
Streams of silver flow over the verdant plains; The
sand, richer than Hesperian Tagus, appears as gold.
Through the odoriferous riches the gentle air of the Ze-
phyr breathes, A dewy air, springing up among innumer-
able roses.
Flumen vernans lambo argenteus campus;
Ditior Hesperius, flaveo arena, Tagus.
Serpo odoriferus per opes levis. aura Favonius,
Aura, sub innumerus, humidus, natus rosa.
16.
Then the poet, rejoicing in the prosperous state of his
country, Sought again the harmonious strings of his ne-
glected lyre; And having attuned with a slender quill its
idle strings, He swept the renowned instrument of ivory
with a joyful hand.
Turn, patria festus laitatus tempos, vates
Desuetus repeto filum canorus lyra;
Et, reses lenis modulatus pecien nervus
Pollex festivus nobilis duco ebur.
17.
Have you seen (surely you often see) that the droop-
? ? 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. 71
ing lilies wither, Which a shower of rain beats down?
Thus did she waste away with a slow disease, thus
did she grow pale, Her last day now drawing near its
end.
Videone (quin saepe video) ut languidus marceo
Lilium, qui prsegravo imber aqua?
Lentus sic pereo tabum, sic palleo ille,
Ad finis extremus jam properans dies.
18.
The ship, weighed down by the slaughter of the men,
and filled with much blood, Receives frequent blows on
its curved side: But after it let in the sea at its leaking^
joints, Filled to its highest parts, it sunk in the waves.
Strages vir cumulatus ratis, multusque cruor
Plenus, per obliquus creber latus accipio ictus:
At postquam ruptus pelagus compages haurio,
Ad summus repletus forus, descendo in unda.
19.
He admires at a distance the arms an d empty chariots
of heroes. Their spears stand fixed in the ground, and at
liberty in different places Through the plains their horses
feed: that care of their chariots And of their arms, which
they had when alive, that care their shining Horses to
train up, the same follows them, though interred in the
earth.
Anna procul currusque vir miror inanes.
Sto terra defixus hasta, passimque solutus
Per campus pascor equus: qui gratia currus
Armaque fuit vi,vis, qui cura nitens
Pasco equus, idem, sequor tcllus repositus.
? ? 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
? 72 EXERCISES IN
CHAPTER V.
Diuresis, Episnthesis, and Paragoge.
Dijeresis is the division of one syllable into two; as
Aura, aurai.
