He has in forwardness for Publication Thomson's Seasons, wita*
Metrical Notes to each Line, to regulate the Pronunciation --
The Eton Latin Prosody illustrated, with Explanations, Comments,
and Examples -- and
Latin Versification made easy, in a Series of Exercises, gradually
suited to the progressive Abilities of the Student in the different
stages of his classical career.
Metrical Notes to each Line, to regulate the Pronunciation --
The Eton Latin Prosody illustrated, with Explanations, Comments,
and Examples -- and
Latin Versification made easy, in a Series of Exercises, gradually
suited to the progressive Abilities of the Student in the different
stages of his classical career.
Latin - Carey - Clavis Metrico-Virgiliana
Clavis metrico-Virgiliana.
A metrical guide to the right intelligence
of Virgil's versification. [With] a Synopsis of the poetic licences.
Carey, John, 1756-1826. L, 1818.
http://hdl. handle. net/2027/hvd. 32044085250439
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HARVARD
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? e
CLAVIS METRICO-VIRGILIANA.
A METRICAL GUIDE
to the right Intelligence of
VIRGIL'S VERSIFICATION;
"containing
a Solution of its principal Difficulties;
the Lines distinctly scanned in each Case j
and the Poetic Licences explained.
To which is added
A SYNOPSIS of the Poetic Licences,
exhibiting, at one View, the various Examples of each,
collectively classed together.
By John Carey, LL. D.
Classical, French, and English Teacher,
Author of" Latin Prosody made easy "--" Scanning Exercises for
Young Prosodians" -- " Practical English Prosody and Versifi-
cation" --" Introduction to English Composition and Elocution" --<
and other Publications.
LONDON. --1818.
PRINTED FOB LONGMAN, HURST, REES, ORJIE, AND BROWN,
PATERNOSTEK-BOW, .
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? J, ? iu>>'iii Prosody made easy: a new Edition, enlarged and im-
proved--
2. Abridgement of " Latin Prosody," for the use of Schools --
3. C/ain>> Metrico-Virgiliana. ; or, a Solution of the principal
Metrical Difficulties occurring in Virgil's Versification; the Scan-
ning and the Poetic Licences being, in each case, distinctly pointed
out and explained --
4. Scanning Exercises for young Prosodians --
5. Alphabetic Key to " Propria quce Maribus," &c. -- a new
Edition, with considerable Improvements --
6. Skeleton of the Latin Accidence, exhibiting the whole in one
folding Table--
7. Practical English Prosody and Versification; or Descriptions of
the different Species of English Verse, with Exercises in Scanning
and Versification, gradually accommodated to the various Capacities
of Youth at different Ages, and calculated to produce Correctness of
Ear and Taste in reading and writing Poetry; the whole interspersed
with occasional Remarks on Etymology, Syntax, and Pronunciation.
Second edition --
8. Key to " Practical English Prosody,'' &c. --
9. Introduction to English Composition and Elocution, in four
Parts, viz. 1. iESOP modernised and moralised, in a Series of in-
structive TALES, calculated, both as Reading-Lessons, and as Sub-
jects for Narration: 2. SKELETONS of those Tales, with leading
Questions and Hints, to guide and assist the juvenile Writer in
re-composing them: 3. POETIC READING made easy, by means
of METRICAL NOTES to each Line: 4. An Appendix of select
Prose --
10. Learning better than House and Land; a Moral Tale; third
Edition --
11. Profitable Amusement for Children; or Familiar Tales, uniting
Instruction with Entertainment --
12. Dry den's Virgil, revised. and corrected (the Edition of 1803) --
13. Ainsworth's Latin Dictionary revised; Edition of ] 816 --
14. Abridgement of Ainsworth's Dictionary; 1817--
besides several Volumes of
the REGENT'S EDITION of the Classics,
now in the Course of Publication.
He has in forwardness for Publication Thomson's Seasons, wita*
Metrical Notes to each Line, to regulate the Pronunciation --
The Eton Latin Prosody illustrated, with Explanations, Comments,
and Examples -- and
Latin Versification made easy, in a Series of Exercises, gradually
suited to the progressive Abilities of the Student in the different
stages of his classical career.
Printed by A. Strahan,
Printers-Street, London.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? PREFACE.
For the use (in the first instance) of gentlemen applying to
me for assistance in acquiring a knowledge of Prosody and
Versification -- and with the further view of aiding others
who may be desirous of correctly understanding the struc-
ture of Virgil's lines, and pronouncing them with metrical
propriety -- I publish this "Clavis," in which I have distinctly
noticed and analysed every verse of his Eclogues, Georgics,
and JEne'id, containing any poetic licence which I thought
capable of creating difficulty to the inexperienced Prosodian.
The principal objects, thus noticed, are --
1. A short final syllable rendered long by the Ccesura, in-
dependently of subsequent consonants; the caesural pause
(the "Paululum morce" of Quintilian, 9, 4) being alone suffi-
cient to produce that effect. -- Every such licence I have
indicated by the single word, " Ccesura" subjoined to the
example.
2. A final Vowel or Diphthong un-elided before a subse-
quent initial vowel -- and still retaining its natural quantity
-- indicated by the two words, " Ccesura" and "Preserved. "
3. A final long Votvel or Diphthong un-elided before a
subsequent initial vowel, and made short -- so mentioned in
each case.
4. A Crasis or Synaresis, by which two syllables are re-
duced to, or pronounced as, one -- indicated by the word
"Crasis," or " Synceresis. "'
5. Diceresis, or the division of one syllable into two.
6. Synapheia, or the Continuity of Metre--sufficiently in>>
telligible, as I have arranged the syllables in each instance-
but explained more at large in my "Latin Prosody made
easy," sect. 54.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? iv Preface.
Other licences are particularly explained in each indivi-
dual case, as they occur.
Among the examples of Synceresis, I have not deemed it
worth while to notice every appearance of Cui and Huic,
which so frequently occur as monosyllables, and so rarely
as dissyllables -- rarely, I mean, that we can prove them to
be so intended; though it seems very probable (from the
authorities quoted in my " Prosody") that Virgil meant them
for dissyllables in the following lines, and likewise in every
other place where the metre will allow us to read them as
such --
Atpuer Ascanius, ckj nunc cognomen Iulo . . . (Sua. 1, 271.
which verse unquestionably flows more smooth and harmo-
nious with the dactyl, than with a heavy spondee, terminated
with an unmusical monosyllable. And, in reading the fol-
lowing passage (iEn. 11, 644)--
Tantus in arma patet: latos huic hasta per armos
Acta tremit --
Virgil himself would, no doubt, have pronounced tos huic
a dactyl, as much better calculated, than the slow spondee,
to paint the rapid flight and prompt effect of the spear.
Neither have I chosen to increase the number of my pages,
by noticing those cases in which the particle " RE " is made
long, as in Religio, Reliquice, Retulit, Repulit, &c. because,
when the " RE" is thus lengthened, such words are gene-
rally printed with the following consonant double (Relligio,
Rettulit, &c. ) in conformity to the example set to us by the
ancients in the verb Reddo, which is never written otherwise.
Dii and Diis, being every-where used by Virgil as mono-
syllables, and generally printed Dt and Dis, are likewise
passed over unnoticed -- together with the variations of
quantity in the initial syllables of Italus, Italia, Priamust
Priamides, &c. as they can create no difficulty in scanning.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Preface. V
If I have, without apparent necessity, so often noticed
the diphthong " EU" in Proteus, Orpheus, and other pro-
per names of similar description; it was with the view of
more pointedly directing the young prosodian's attention to
that Greek diphthong, and guarding him against the error
of dividing it, as beginners frequently do, in such cases as
the following, to produce an apparent dactyl by such im-
proper division, with a violation of quantity in the preceding
long syllable--
Intus se vasti Proteus tegit objice saxi.
. . . Infelix Theseus, Phlegyasque miserrimus omnes . . .
. . . . Granda&vus Nereus f novit namque omnia vates.
Having said, under Georg. 2, 382, and JEn. 7, 484, that
it is perfectly optional with us to pronounce Theseidce,
-Tyrrheidce, or Tkesidce, TyrrhldeB, I think it not amiss to
quote the following remarks from a paper of mine on
"Greek Patronymics" published in the European Magazine
for August, 1817-
"ALLOW me to offer to your classical readers a few
remarks on what appears to me an erroneous method of
scanning and pronouncing many verses in Homer and other
ancient poets, Latin as well as Greek.
"The error in question (if it really be an error) takes
. place in the pronunciation of such patronymic titles as
Atreides, Peleides, &c. in which the generality of readers
make the EI a diphthong: and, to determine whether we do
or do not rightly scan and pronounce them, it may be proper,
in (be first instance, to consider the mode of their deriva-
tion.
"The simplest rule (as I apprehend) for the formation of
an ordinary regular patronymic from a proper name, is --
"To cut off the final vowel of the dative singular, (count-
ing the subscript iota as nothing) and to add IAH2 (with the
a
?
He has in forwardness for Publication Thomson's Seasons, wita*
Metrical Notes to each Line, to regulate the Pronunciation --
The Eton Latin Prosody illustrated, with Explanations, Comments,
and Examples -- and
Latin Versification made easy, in a Series of Exercises, gradually
suited to the progressive Abilities of the Student in the different
stages of his classical career.
Printed by A. Strahan,
Printers-Street, London.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? PREFACE.
For the use (in the first instance) of gentlemen applying to
me for assistance in acquiring a knowledge of Prosody and
Versification -- and with the further view of aiding others
who may be desirous of correctly understanding the struc-
ture of Virgil's lines, and pronouncing them with metrical
propriety -- I publish this "Clavis," in which I have distinctly
noticed and analysed every verse of his Eclogues, Georgics,
and JEne'id, containing any poetic licence which I thought
capable of creating difficulty to the inexperienced Prosodian.
The principal objects, thus noticed, are --
1. A short final syllable rendered long by the Ccesura, in-
dependently of subsequent consonants; the caesural pause
(the "Paululum morce" of Quintilian, 9, 4) being alone suffi-
cient to produce that effect. -- Every such licence I have
indicated by the single word, " Ccesura" subjoined to the
example.
2. A final Vowel or Diphthong un-elided before a subse-
quent initial vowel -- and still retaining its natural quantity
-- indicated by the two words, " Ccesura" and "Preserved. "
3. A final long Votvel or Diphthong un-elided before a
subsequent initial vowel, and made short -- so mentioned in
each case.
4. A Crasis or Synaresis, by which two syllables are re-
duced to, or pronounced as, one -- indicated by the word
"Crasis," or " Synceresis. "'
5. Diceresis, or the division of one syllable into two.
6. Synapheia, or the Continuity of Metre--sufficiently in>>
telligible, as I have arranged the syllables in each instance-
but explained more at large in my "Latin Prosody made
easy," sect. 54.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? iv Preface.
Other licences are particularly explained in each indivi-
dual case, as they occur.
Among the examples of Synceresis, I have not deemed it
worth while to notice every appearance of Cui and Huic,
which so frequently occur as monosyllables, and so rarely
as dissyllables -- rarely, I mean, that we can prove them to
be so intended; though it seems very probable (from the
authorities quoted in my " Prosody") that Virgil meant them
for dissyllables in the following lines, and likewise in every
other place where the metre will allow us to read them as
such --
Atpuer Ascanius, ckj nunc cognomen Iulo . . . (Sua. 1, 271.
which verse unquestionably flows more smooth and harmo-
nious with the dactyl, than with a heavy spondee, terminated
with an unmusical monosyllable. And, in reading the fol-
lowing passage (iEn. 11, 644)--
Tantus in arma patet: latos huic hasta per armos
Acta tremit --
Virgil himself would, no doubt, have pronounced tos huic
a dactyl, as much better calculated, than the slow spondee,
to paint the rapid flight and prompt effect of the spear.
Neither have I chosen to increase the number of my pages,
by noticing those cases in which the particle " RE " is made
long, as in Religio, Reliquice, Retulit, Repulit, &c. because,
when the " RE" is thus lengthened, such words are gene-
rally printed with the following consonant double (Relligio,
Rettulit, &c. ) in conformity to the example set to us by the
ancients in the verb Reddo, which is never written otherwise.
Dii and Diis, being every-where used by Virgil as mono-
syllables, and generally printed Dt and Dis, are likewise
passed over unnoticed -- together with the variations of
quantity in the initial syllables of Italus, Italia, Priamust
Priamides, &c. as they can create no difficulty in scanning.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Preface. V
If I have, without apparent necessity, so often noticed
the diphthong " EU" in Proteus, Orpheus, and other pro-
per names of similar description; it was with the view of
more pointedly directing the young prosodian's attention to
that Greek diphthong, and guarding him against the error
of dividing it, as beginners frequently do, in such cases as
the following, to produce an apparent dactyl by such im-
proper division, with a violation of quantity in the preceding
long syllable--
Intus se vasti Proteus tegit objice saxi.
. . . Infelix Theseus, Phlegyasque miserrimus omnes . . .
. . . . Granda&vus Nereus f novit namque omnia vates.
Having said, under Georg. 2, 382, and JEn. 7, 484, that
it is perfectly optional with us to pronounce Theseidce,
-Tyrrheidce, or Tkesidce, TyrrhldeB, I think it not amiss to
quote the following remarks from a paper of mine on
"Greek Patronymics" published in the European Magazine
for August, 1817-
"ALLOW me to offer to your classical readers a few
remarks on what appears to me an erroneous method of
scanning and pronouncing many verses in Homer and other
ancient poets, Latin as well as Greek.
"The error in question (if it really be an error) takes
. place in the pronunciation of such patronymic titles as
Atreides, Peleides, &c. in which the generality of readers
make the EI a diphthong: and, to determine whether we do
or do not rightly scan and pronounce them, it may be proper,
in (be first instance, to consider the mode of their deriva-
tion.
"The simplest rule (as I apprehend) for the formation of
an ordinary regular patronymic from a proper name, is --
"To cut off the final vowel of the dative singular, (count-
ing the subscript iota as nothing) and to add IAH2 (with the
a
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? vi Preface.
I short) for the masculine, and IS for the feminine; as, frem
Tvniogv, masculine TuyXajiJn? , and feminine Twiaps.
"For the Latinist who does not understand Greek, the
rule may be --
"To cut off the final vowel or diphthong from the Latin
dative singular, and to add IDES (with the I short) for the
masculine, and IS for the feminine; as, from Tyndaro, Tyn-
darides and Tyndaris; from Atlanti, Atlantides and Atlantis.
"But, where a long syllable immediately precedes the
termination IAHS or IDES, as here in- Atlantides, (which, in
that shape, could not possibly gain admission into heroic or
elegeiac metre) the poets claim the privilege of inserting ashort
"A" after the "I," and thus obtaining a convenient dactyl,
as Atlantiades, Laertiades, Anchisiades, Telamontades, Am-
phitryomades, &c. and they take a similar liberty with the
feminine IS, converting it into IAS, as Thaumantias.
'" Agreeably to the preceding rule, the primitive Atrtus
will, either from the Greek dative Atje-i or the Latin Atre-o,
give us the patronymic Ar^-iln; or Atre-ides, in either lan-
guage four syllables, making a dactyl and a semifoot; and,
by the same process, we obtain nuAs-jStw, Pele-ides, &c. Or,
If the Greek scholar, making two rules instead of one, should
choose to direct, that, from primitives which form the genii
tive in OE, the patronymic be formed by adding AHS to the
dative, it ultimately amounts to the same thing; the natural
un-contracted dative being AtjiJ, IThXeI, of three syllables,,
which will give ArjtiJn? , TI>i? uiJ>is, of four.
"This being the case, I humbly conceive, that, wherever,
in Greek or Latin poetry, we find one of those patronymics,
in such position as to allow the alternative of one long sylla-
ble or two short, we are, if not bound, at least authorised, to
pronounce the EI as two distinct syllables; thus producing,,
in each of the following instances, a dactyl, instead of the.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Preface. vii
spondee, which is produced by the ordinary mode of pronun-
ciation; ex. gr.
Atreidas, Priamumque, et saevum ambobus Achillem.
"Thus also, instead of spondaic lines in the following in-
stances (Iliad, B. 9, and P. 191) --
EX9a>> u; xXurtm Aya. jj. tji. Kw; At{hJ<*<< --
Oi ir^ori atrrv (ptgov Hkvra. taiyta. IltiXiUao --
we should have verses of the regular form, with the dactyl in
the fifth place: and the same remark applies to TtoKHma,
which often occurs in the Iliad, and to various other patro-
nymics, which it is not here necessary to enumerate.
"I do not, however, pretend to say, that this pronunci-
ation will, in all cases, improve the harmony of the. verse:
but, in some instances, it certainly will; and, on such occa-
sions, I conceive that the reader is perfectly at liberty to
consult his own ear -- perfectly justifiable in avoiding the
synaeresis, and preferring the dactyl to the spondee.
"Before I quit the subject of patronymics, I cannot for-
bear to notice a glaring error in the text of Ovid, which ap-
pears most unaccountably to have escaped the observation
of all his editors and commentators. It is in his Epist. 14,73--
Surge, age, Belide, de tot modo fratribus unus --
which, as it now stands, presents us with a trochee in the second
place; since the middle syllable in Belides (from Belus) is
undoubtedly short; and Ovid never could have thought of
introducing the name into his verse, without having recourse
to the poetic epcnthesis of the "A/' to produce a dactyl*
thus-- i
Surge, age, Beliade . . . . "
?
The same remark applies to Belidce, in Virgil, . iEn. 2,82 j
while Seneca (Here. (E. t. 960) presents us with an example
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? viii Preface.
of the inserted " A" in the feminine Bellas, Beliadot, for
Belts, Belidos, which furnishes the plural Belides, in the ac-
companying verse from Ovid, Met. 4, 468 --
^Stricto cruenta Bellas ferro stetit. (Sen.
? *. . Assiduse repetant, quas perdant, Betides undas. (Ov.
To return to the present " Clavis" -- Though I had origi-
nally intended it for the Dauphin edition alone, as being
most read in schools, a casual co-incidence induced me tc
extend its utility. While engaged in preparing it for the
press, I happened likewise to be engaged, as Editor, in pro-
ducing that new edition of Virgil, of "the Regent's Classics,'"
which (with the addition of the " Culex," &c. ) is now on the
eve of publication. Using Heyne's edition as my prototype,
I marked, in my progress, his corrections of the text; and,
wherever any one of them involves a poetic licence, I have
noticed it in this " Clavis;" which, therefore, in that as well
as in other respects, will prove more generally satisfactory
than tfie abridged " Clavis," annexed to the Dauphin Virgil;
an abridgement, for which I crave the public indulgence, if
it should be found to contain any inaccuracies -- the more
excusable, as the quotations are only single words, so liable
to mistakes, when detached from the context.
For the convenience of those who may wish to know, with-
out the labor of research, to what extent Virgil has indulged
in each particular species of metrical licence, I have, at the
end of the volume, given a recapitulatory " Synopsis" exhi-
biting the different species distributed into distinct classes --
each class at once presenting to the eye the whole number of
examples noticed in the " Clavis," with proper references to
the places where they severally occur.
West-Square JoHN CaRSY.
February 12, 1818.
-? ? .
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? CLAVIS METRICO-VIRGILIANA.
Eclogue 1.
33. Nee spes libertatis erat nee curS p&-\-culi
( peculii, peculii-- crasis.
39. Tityms hinc &be-\-rat zp-|-sse te ThyrS quercus
( aberat -- ccesura.
50. Non \n-\-sueta gra-\-xes tentabunt pabiila fetas
( insueta--syn&resis--though (N. B. )tfAeUE,
in Suesco and its derivatives, is rarely otherwise
than a single syllable.
69. Pauperis et tiigu-l-r? cora-|-gestum csespite ciilmen
( tugurii, tuguri -- crasis.
Eclogue 2.
24. amphion Dircseus in actse-|-o ara-|-cyntho
( Actseo -- ccesura--preserved.
53. (according to Professor Heyne's text)
addam cerea | prilna ^o-|-nos Srit huic quoque pomo
( pruna -- the A. preserved from elision.
65. Te Covy-\-don b $-|-lexi trahit suS quemque vo-
luptas
( O -- the interjection O never elided -- here
made short.
Eclogue 3. '
6. et succus peco-|-r? et | lac subducitur agnis
( pecori -- caesura --preserved.
58. incipe Damoeta tu | deinde se-|-querc' Mcnalca
( deinde -- syna? resis.
u
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?
of Virgil's versification. [With] a Synopsis of the poetic licences.
Carey, John, 1756-1826. L, 1818.
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? e
CLAVIS METRICO-VIRGILIANA.
A METRICAL GUIDE
to the right Intelligence of
VIRGIL'S VERSIFICATION;
"containing
a Solution of its principal Difficulties;
the Lines distinctly scanned in each Case j
and the Poetic Licences explained.
To which is added
A SYNOPSIS of the Poetic Licences,
exhibiting, at one View, the various Examples of each,
collectively classed together.
By John Carey, LL. D.
Classical, French, and English Teacher,
Author of" Latin Prosody made easy "--" Scanning Exercises for
Young Prosodians" -- " Practical English Prosody and Versifi-
cation" --" Introduction to English Composition and Elocution" --<
and other Publications.
LONDON. --1818.
PRINTED FOB LONGMAN, HURST, REES, ORJIE, AND BROWN,
PATERNOSTEK-BOW, .
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? J, ? iu>>'iii Prosody made easy: a new Edition, enlarged and im-
proved--
2. Abridgement of " Latin Prosody," for the use of Schools --
3. C/ain>> Metrico-Virgiliana. ; or, a Solution of the principal
Metrical Difficulties occurring in Virgil's Versification; the Scan-
ning and the Poetic Licences being, in each case, distinctly pointed
out and explained --
4. Scanning Exercises for young Prosodians --
5. Alphabetic Key to " Propria quce Maribus," &c. -- a new
Edition, with considerable Improvements --
6. Skeleton of the Latin Accidence, exhibiting the whole in one
folding Table--
7. Practical English Prosody and Versification; or Descriptions of
the different Species of English Verse, with Exercises in Scanning
and Versification, gradually accommodated to the various Capacities
of Youth at different Ages, and calculated to produce Correctness of
Ear and Taste in reading and writing Poetry; the whole interspersed
with occasional Remarks on Etymology, Syntax, and Pronunciation.
Second edition --
8. Key to " Practical English Prosody,'' &c. --
9. Introduction to English Composition and Elocution, in four
Parts, viz. 1. iESOP modernised and moralised, in a Series of in-
structive TALES, calculated, both as Reading-Lessons, and as Sub-
jects for Narration: 2. SKELETONS of those Tales, with leading
Questions and Hints, to guide and assist the juvenile Writer in
re-composing them: 3. POETIC READING made easy, by means
of METRICAL NOTES to each Line: 4. An Appendix of select
Prose --
10. Learning better than House and Land; a Moral Tale; third
Edition --
11. Profitable Amusement for Children; or Familiar Tales, uniting
Instruction with Entertainment --
12. Dry den's Virgil, revised. and corrected (the Edition of 1803) --
13. Ainsworth's Latin Dictionary revised; Edition of ] 816 --
14. Abridgement of Ainsworth's Dictionary; 1817--
besides several Volumes of
the REGENT'S EDITION of the Classics,
now in the Course of Publication.
He has in forwardness for Publication Thomson's Seasons, wita*
Metrical Notes to each Line, to regulate the Pronunciation --
The Eton Latin Prosody illustrated, with Explanations, Comments,
and Examples -- and
Latin Versification made easy, in a Series of Exercises, gradually
suited to the progressive Abilities of the Student in the different
stages of his classical career.
Printed by A. Strahan,
Printers-Street, London.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? PREFACE.
For the use (in the first instance) of gentlemen applying to
me for assistance in acquiring a knowledge of Prosody and
Versification -- and with the further view of aiding others
who may be desirous of correctly understanding the struc-
ture of Virgil's lines, and pronouncing them with metrical
propriety -- I publish this "Clavis," in which I have distinctly
noticed and analysed every verse of his Eclogues, Georgics,
and JEne'id, containing any poetic licence which I thought
capable of creating difficulty to the inexperienced Prosodian.
The principal objects, thus noticed, are --
1. A short final syllable rendered long by the Ccesura, in-
dependently of subsequent consonants; the caesural pause
(the "Paululum morce" of Quintilian, 9, 4) being alone suffi-
cient to produce that effect. -- Every such licence I have
indicated by the single word, " Ccesura" subjoined to the
example.
2. A final Vowel or Diphthong un-elided before a subse-
quent initial vowel -- and still retaining its natural quantity
-- indicated by the two words, " Ccesura" and "Preserved. "
3. A final long Votvel or Diphthong un-elided before a
subsequent initial vowel, and made short -- so mentioned in
each case.
4. A Crasis or Synaresis, by which two syllables are re-
duced to, or pronounced as, one -- indicated by the word
"Crasis," or " Synceresis. "'
5. Diceresis, or the division of one syllable into two.
6. Synapheia, or the Continuity of Metre--sufficiently in>>
telligible, as I have arranged the syllables in each instance-
but explained more at large in my "Latin Prosody made
easy," sect. 54.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? iv Preface.
Other licences are particularly explained in each indivi-
dual case, as they occur.
Among the examples of Synceresis, I have not deemed it
worth while to notice every appearance of Cui and Huic,
which so frequently occur as monosyllables, and so rarely
as dissyllables -- rarely, I mean, that we can prove them to
be so intended; though it seems very probable (from the
authorities quoted in my " Prosody") that Virgil meant them
for dissyllables in the following lines, and likewise in every
other place where the metre will allow us to read them as
such --
Atpuer Ascanius, ckj nunc cognomen Iulo . . . (Sua. 1, 271.
which verse unquestionably flows more smooth and harmo-
nious with the dactyl, than with a heavy spondee, terminated
with an unmusical monosyllable. And, in reading the fol-
lowing passage (iEn. 11, 644)--
Tantus in arma patet: latos huic hasta per armos
Acta tremit --
Virgil himself would, no doubt, have pronounced tos huic
a dactyl, as much better calculated, than the slow spondee,
to paint the rapid flight and prompt effect of the spear.
Neither have I chosen to increase the number of my pages,
by noticing those cases in which the particle " RE " is made
long, as in Religio, Reliquice, Retulit, Repulit, &c. because,
when the " RE" is thus lengthened, such words are gene-
rally printed with the following consonant double (Relligio,
Rettulit, &c. ) in conformity to the example set to us by the
ancients in the verb Reddo, which is never written otherwise.
Dii and Diis, being every-where used by Virgil as mono-
syllables, and generally printed Dt and Dis, are likewise
passed over unnoticed -- together with the variations of
quantity in the initial syllables of Italus, Italia, Priamust
Priamides, &c. as they can create no difficulty in scanning.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Preface. V
If I have, without apparent necessity, so often noticed
the diphthong " EU" in Proteus, Orpheus, and other pro-
per names of similar description; it was with the view of
more pointedly directing the young prosodian's attention to
that Greek diphthong, and guarding him against the error
of dividing it, as beginners frequently do, in such cases as
the following, to produce an apparent dactyl by such im-
proper division, with a violation of quantity in the preceding
long syllable--
Intus se vasti Proteus tegit objice saxi.
. . . Infelix Theseus, Phlegyasque miserrimus omnes . . .
. . . . Granda&vus Nereus f novit namque omnia vates.
Having said, under Georg. 2, 382, and JEn. 7, 484, that
it is perfectly optional with us to pronounce Theseidce,
-Tyrrheidce, or Tkesidce, TyrrhldeB, I think it not amiss to
quote the following remarks from a paper of mine on
"Greek Patronymics" published in the European Magazine
for August, 1817-
"ALLOW me to offer to your classical readers a few
remarks on what appears to me an erroneous method of
scanning and pronouncing many verses in Homer and other
ancient poets, Latin as well as Greek.
"The error in question (if it really be an error) takes
. place in the pronunciation of such patronymic titles as
Atreides, Peleides, &c. in which the generality of readers
make the EI a diphthong: and, to determine whether we do
or do not rightly scan and pronounce them, it may be proper,
in (be first instance, to consider the mode of their deriva-
tion.
"The simplest rule (as I apprehend) for the formation of
an ordinary regular patronymic from a proper name, is --
"To cut off the final vowel of the dative singular, (count-
ing the subscript iota as nothing) and to add IAH2 (with the
a
?
He has in forwardness for Publication Thomson's Seasons, wita*
Metrical Notes to each Line, to regulate the Pronunciation --
The Eton Latin Prosody illustrated, with Explanations, Comments,
and Examples -- and
Latin Versification made easy, in a Series of Exercises, gradually
suited to the progressive Abilities of the Student in the different
stages of his classical career.
Printed by A. Strahan,
Printers-Street, London.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? PREFACE.
For the use (in the first instance) of gentlemen applying to
me for assistance in acquiring a knowledge of Prosody and
Versification -- and with the further view of aiding others
who may be desirous of correctly understanding the struc-
ture of Virgil's lines, and pronouncing them with metrical
propriety -- I publish this "Clavis," in which I have distinctly
noticed and analysed every verse of his Eclogues, Georgics,
and JEne'id, containing any poetic licence which I thought
capable of creating difficulty to the inexperienced Prosodian.
The principal objects, thus noticed, are --
1. A short final syllable rendered long by the Ccesura, in-
dependently of subsequent consonants; the caesural pause
(the "Paululum morce" of Quintilian, 9, 4) being alone suffi-
cient to produce that effect. -- Every such licence I have
indicated by the single word, " Ccesura" subjoined to the
example.
2. A final Vowel or Diphthong un-elided before a subse-
quent initial vowel -- and still retaining its natural quantity
-- indicated by the two words, " Ccesura" and "Preserved. "
3. A final long Votvel or Diphthong un-elided before a
subsequent initial vowel, and made short -- so mentioned in
each case.
4. A Crasis or Synaresis, by which two syllables are re-
duced to, or pronounced as, one -- indicated by the word
"Crasis," or " Synceresis. "'
5. Diceresis, or the division of one syllable into two.
6. Synapheia, or the Continuity of Metre--sufficiently in>>
telligible, as I have arranged the syllables in each instance-
but explained more at large in my "Latin Prosody made
easy," sect. 54.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? iv Preface.
Other licences are particularly explained in each indivi-
dual case, as they occur.
Among the examples of Synceresis, I have not deemed it
worth while to notice every appearance of Cui and Huic,
which so frequently occur as monosyllables, and so rarely
as dissyllables -- rarely, I mean, that we can prove them to
be so intended; though it seems very probable (from the
authorities quoted in my " Prosody") that Virgil meant them
for dissyllables in the following lines, and likewise in every
other place where the metre will allow us to read them as
such --
Atpuer Ascanius, ckj nunc cognomen Iulo . . . (Sua. 1, 271.
which verse unquestionably flows more smooth and harmo-
nious with the dactyl, than with a heavy spondee, terminated
with an unmusical monosyllable. And, in reading the fol-
lowing passage (iEn. 11, 644)--
Tantus in arma patet: latos huic hasta per armos
Acta tremit --
Virgil himself would, no doubt, have pronounced tos huic
a dactyl, as much better calculated, than the slow spondee,
to paint the rapid flight and prompt effect of the spear.
Neither have I chosen to increase the number of my pages,
by noticing those cases in which the particle " RE " is made
long, as in Religio, Reliquice, Retulit, Repulit, &c. because,
when the " RE" is thus lengthened, such words are gene-
rally printed with the following consonant double (Relligio,
Rettulit, &c. ) in conformity to the example set to us by the
ancients in the verb Reddo, which is never written otherwise.
Dii and Diis, being every-where used by Virgil as mono-
syllables, and generally printed Dt and Dis, are likewise
passed over unnoticed -- together with the variations of
quantity in the initial syllables of Italus, Italia, Priamust
Priamides, &c. as they can create no difficulty in scanning.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Preface. V
If I have, without apparent necessity, so often noticed
the diphthong " EU" in Proteus, Orpheus, and other pro-
per names of similar description; it was with the view of
more pointedly directing the young prosodian's attention to
that Greek diphthong, and guarding him against the error
of dividing it, as beginners frequently do, in such cases as
the following, to produce an apparent dactyl by such im-
proper division, with a violation of quantity in the preceding
long syllable--
Intus se vasti Proteus tegit objice saxi.
. . . Infelix Theseus, Phlegyasque miserrimus omnes . . .
. . . . Granda&vus Nereus f novit namque omnia vates.
Having said, under Georg. 2, 382, and JEn. 7, 484, that
it is perfectly optional with us to pronounce Theseidce,
-Tyrrheidce, or Tkesidce, TyrrhldeB, I think it not amiss to
quote the following remarks from a paper of mine on
"Greek Patronymics" published in the European Magazine
for August, 1817-
"ALLOW me to offer to your classical readers a few
remarks on what appears to me an erroneous method of
scanning and pronouncing many verses in Homer and other
ancient poets, Latin as well as Greek.
"The error in question (if it really be an error) takes
. place in the pronunciation of such patronymic titles as
Atreides, Peleides, &c. in which the generality of readers
make the EI a diphthong: and, to determine whether we do
or do not rightly scan and pronounce them, it may be proper,
in (be first instance, to consider the mode of their deriva-
tion.
"The simplest rule (as I apprehend) for the formation of
an ordinary regular patronymic from a proper name, is --
"To cut off the final vowel of the dative singular, (count-
ing the subscript iota as nothing) and to add IAH2 (with the
a
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? vi Preface.
I short) for the masculine, and IS for the feminine; as, frem
Tvniogv, masculine TuyXajiJn? , and feminine Twiaps.
"For the Latinist who does not understand Greek, the
rule may be --
"To cut off the final vowel or diphthong from the Latin
dative singular, and to add IDES (with the I short) for the
masculine, and IS for the feminine; as, from Tyndaro, Tyn-
darides and Tyndaris; from Atlanti, Atlantides and Atlantis.
"But, where a long syllable immediately precedes the
termination IAHS or IDES, as here in- Atlantides, (which, in
that shape, could not possibly gain admission into heroic or
elegeiac metre) the poets claim the privilege of inserting ashort
"A" after the "I," and thus obtaining a convenient dactyl,
as Atlantiades, Laertiades, Anchisiades, Telamontades, Am-
phitryomades, &c. and they take a similar liberty with the
feminine IS, converting it into IAS, as Thaumantias.
'" Agreeably to the preceding rule, the primitive Atrtus
will, either from the Greek dative Atje-i or the Latin Atre-o,
give us the patronymic Ar^-iln; or Atre-ides, in either lan-
guage four syllables, making a dactyl and a semifoot; and,
by the same process, we obtain nuAs-jStw, Pele-ides, &c. Or,
If the Greek scholar, making two rules instead of one, should
choose to direct, that, from primitives which form the genii
tive in OE, the patronymic be formed by adding AHS to the
dative, it ultimately amounts to the same thing; the natural
un-contracted dative being AtjiJ, IThXeI, of three syllables,,
which will give ArjtiJn? , TI>i? uiJ>is, of four.
"This being the case, I humbly conceive, that, wherever,
in Greek or Latin poetry, we find one of those patronymics,
in such position as to allow the alternative of one long sylla-
ble or two short, we are, if not bound, at least authorised, to
pronounce the EI as two distinct syllables; thus producing,,
in each of the following instances, a dactyl, instead of the.
? ? Generated for (University of Chicago) on 2014-12-26 11:49 GMT / http://hdl. handle. net/2027/hvd. 32044085250439 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? Preface. vii
spondee, which is produced by the ordinary mode of pronun-
ciation; ex. gr.
Atreidas, Priamumque, et saevum ambobus Achillem.
"Thus also, instead of spondaic lines in the following in-
stances (Iliad, B. 9, and P. 191) --
EX9a>> u; xXurtm Aya. jj. tji. Kw; At{hJ<*<< --
Oi ir^ori atrrv (ptgov Hkvra. taiyta. IltiXiUao --
we should have verses of the regular form, with the dactyl in
the fifth place: and the same remark applies to TtoKHma,
which often occurs in the Iliad, and to various other patro-
nymics, which it is not here necessary to enumerate.
"I do not, however, pretend to say, that this pronunci-
ation will, in all cases, improve the harmony of the. verse:
but, in some instances, it certainly will; and, on such occa-
sions, I conceive that the reader is perfectly at liberty to
consult his own ear -- perfectly justifiable in avoiding the
synaeresis, and preferring the dactyl to the spondee.
"Before I quit the subject of patronymics, I cannot for-
bear to notice a glaring error in the text of Ovid, which ap-
pears most unaccountably to have escaped the observation
of all his editors and commentators. It is in his Epist. 14,73--
Surge, age, Belide, de tot modo fratribus unus --
which, as it now stands, presents us with a trochee in the second
place; since the middle syllable in Belides (from Belus) is
undoubtedly short; and Ovid never could have thought of
introducing the name into his verse, without having recourse
to the poetic epcnthesis of the "A/' to produce a dactyl*
thus-- i
Surge, age, Beliade . . . . "
?
The same remark applies to Belidce, in Virgil, . iEn. 2,82 j
while Seneca (Here. (E. t. 960) presents us with an example
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? viii Preface.
of the inserted " A" in the feminine Bellas, Beliadot, for
Belts, Belidos, which furnishes the plural Belides, in the ac-
companying verse from Ovid, Met. 4, 468 --
^Stricto cruenta Bellas ferro stetit. (Sen.
? *. . Assiduse repetant, quas perdant, Betides undas. (Ov.
To return to the present " Clavis" -- Though I had origi-
nally intended it for the Dauphin edition alone, as being
most read in schools, a casual co-incidence induced me tc
extend its utility. While engaged in preparing it for the
press, I happened likewise to be engaged, as Editor, in pro-
ducing that new edition of Virgil, of "the Regent's Classics,'"
which (with the addition of the " Culex," &c. ) is now on the
eve of publication. Using Heyne's edition as my prototype,
I marked, in my progress, his corrections of the text; and,
wherever any one of them involves a poetic licence, I have
noticed it in this " Clavis;" which, therefore, in that as well
as in other respects, will prove more generally satisfactory
than tfie abridged " Clavis," annexed to the Dauphin Virgil;
an abridgement, for which I crave the public indulgence, if
it should be found to contain any inaccuracies -- the more
excusable, as the quotations are only single words, so liable
to mistakes, when detached from the context.
For the convenience of those who may wish to know, with-
out the labor of research, to what extent Virgil has indulged
in each particular species of metrical licence, I have, at the
end of the volume, given a recapitulatory " Synopsis" exhi-
biting the different species distributed into distinct classes --
each class at once presenting to the eye the whole number of
examples noticed in the " Clavis," with proper references to
the places where they severally occur.
West-Square JoHN CaRSY.
February 12, 1818.
-? ? .
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? CLAVIS METRICO-VIRGILIANA.
Eclogue 1.
33. Nee spes libertatis erat nee curS p&-\-culi
( peculii, peculii-- crasis.
39. Tityms hinc &be-\-rat zp-|-sse te ThyrS quercus
( aberat -- ccesura.
50. Non \n-\-sueta gra-\-xes tentabunt pabiila fetas
( insueta--syn&resis--though (N. B. )tfAeUE,
in Suesco and its derivatives, is rarely otherwise
than a single syllable.
69. Pauperis et tiigu-l-r? cora-|-gestum csespite ciilmen
( tugurii, tuguri -- crasis.
Eclogue 2.
24. amphion Dircseus in actse-|-o ara-|-cyntho
( Actseo -- ccesura--preserved.
53. (according to Professor Heyne's text)
addam cerea | prilna ^o-|-nos Srit huic quoque pomo
( pruna -- the A. preserved from elision.
65. Te Covy-\-don b $-|-lexi trahit suS quemque vo-
luptas
( O -- the interjection O never elided -- here
made short.
Eclogue 3. '
6. et succus peco-|-r? et | lac subducitur agnis
( pecori -- caesura --preserved.
58. incipe Damoeta tu | deinde se-|-querc' Mcnalca
( deinde -- syna? resis.
u
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?
