It has
been the design of the Author to illustrate, for the
use of the lower and middle classes, the rules of
quantity, to afford a brief view of the construction
of the hexameter and pentameter verse, and to
point out some of the means, by which poetical
language may be brought within the measures of
regular versification.
been the design of the Author to illustrate, for the
use of the lower and middle classes, the rules of
quantity, to afford a brief view of the construction
of the hexameter and pentameter verse, and to
point out some of the means, by which poetical
language may be brought within the measures of
regular versification.
Latin - Bradley - Exercises in Latin Prosody
net/2027/hvd.
hwrgkf Public Domain, Google-digitized / http://www.
hathitrust.
org/access_use#pd-google
? <Z? >
&<
? ? 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
? ,
? ^ *:*jd&
m '? <<? - -y
? ? 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
? LATIN PROSODY
AMD
VERSIFICATION.
BY THE REV. C. BRADLEY.
THE FOURTH EDITION.
T
LONDON:
Printed by A. J. Valpy, Red Lion Court, Fleet Street.
SOLD BY G. AND W. B. WHITTAKER; LONG
MAN AND CO. ; BALDWIN AND CO. ; AND ALL
OTHER BOOKSELLERS.
1823.
? ? 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
? /
1<<
Price St, 6d. bound.
. Mr* ,
? ? 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
? INDEX.
PART I.
QUANTITY.
Page
Chapter 1. Definitions . . . . . 1
2. Vowels . . . . . 5
3. Consonants . . . '. . 13
4. Compound, Derivative, and Contracted
Words . . ? . . 17
PART II.
SCANNING.
Chapter 1. Definitions . . ' . . '. 33
2. Hexameter . . . . . 34
3. Pentameter . . . . , S8
? ? 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
? Xii INDEX.
PART III.
VERSIFICATION.
Chapter
Page
2. Arrangement of Words
. 51
3. Elision . . . . .
? 59
4. Synmresis, Syncope, and Apocope
. 65
5. Di&resis, Epenthesis, and Paragoge
. 72
6. Enallage or Variation of Words
. 75.
7. Ellipsis
. 107
8. Epithets
. 114
9. Periphrasis . . . .
. 119
10. Miscellaneous Exercises
. 125
APPENDIX.
LYRIC AND DRAMATIC MEASURES.
Chapter 1. Feet 138
2. Metres 140
n
? ? 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
? PREFACE.
J. he branch of a classical education, which the
following sheets are designed to facilitate, has often
been censured as useless and absurd. The charge
has been as plausibly supported, as it has been
confidently repeated, and the inexperienced in-
structor of youth has sometimes been induced to
conclude, that the composition of Latin verse is a
culpable and ridiculous practice, calculated only to
waste the valuable time of his pupils, and to dis-
gust them with unprofitable difficulties.
But while this method of instruction has been thus
strongly condemned by many, who from indolence
or from a want of opportunity have never availed
themselves of its, advantages, the experience of
those who have adopted and steadily pursued it, has
? ? 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
? VI PREFACE.
clearly proved its utility, and sometimes, though
improperly, caused it to be made a primary instead
of a subordinate part of a liberal education.
The strong and frequent censure, with which
this exercise has been condemned, has perhaps
principally arisen from an erroneous opinion, that
a facility in writing verse is the only, or at least
the chief benefit, with which it is attended. The
acquisition of this elegant attainment must indeed
appear to the superficial observer to be the princi-
pal object, which it is calculated to promote; but
the experienced teacher knows, that while his pupil
is judiciously pursuing it, he is gradually obtaining
an extensive knowledge of the language, in which
he is attempting to express his thoughts, forming
a correct and refined taste from the authors, whom
he is endeavouring to imitate, and exercising, and
consequently strengthening, the inventive and dis-
criminating powers of his mind. He knows that
although he may never become a poet, he can
hardly avoid becoming less thoughtless and less
ignorant.
? ? 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
? PREFACE. Vli
The difficulty, with which the composition of
Latin verse is at first accompanied, will not be
alleged as an objection against it by any instructor,
who is aware of the frequent indolence of tlie
youthful mind, and who is willing to use the exer-
tion, which is necessary to counteract and remove it.
He knows that its difficulties are not insurmount-
able, and he will consider them as recommendations
in its favor, rather than as arguments against itf
"Difficulty," says Dr. Knox, "is naturally painful,
but to overcome it causes a very sensible pleasure,
and facilitates future conquests by adding courage.
To write Latin verse is certainly an arduous task to
a young boy; but the authority of his master, and
a spirit of emulation, urge him to attempt with
alacrity, what his own indolence would have led him
to neglect. Long practice gives facility. He finds
he has overcome what he once thought insur-
mountable. When any new undertaking offers
itself in future with a difficult and forbidding aspect,
he is not affrighted, for he recollects that, he has
already performed that, which appeared to ? him
? ? 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
? PREFACE.
impracticable. The exertion necessary to accomplish
that which is not easy, has a natural tendency to
give the mind fresh vigor. "
The present attempt to promote this useful
branch of instruction is obviously not intended for
the assistance of the advanced student.
It has
been the design of the Author to illustrate, for the
use of the lower and middle classes, the rules of
quantity, to afford a brief view of the construction
of the hexameter and pentameter verse, and to
point out some of the means, by which poetical
language may be brought within the measures of
regular versification. In the Appendix, with which
the present edition of the work is enlarged, he has
attempted to elucidate the feet and metres in the
most common use in Lyric Poetry.
? ? 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
? EXERCISES
IN
latin $roaotJ|>-
PART I.
QUANTITY.
CHAPTER I. --Definitions.
The quantity of a syllable is the length of time, which
is occupied in pronouncing it.
A syllable is either short, long, or common.
A syllable is short when it is pronounced rapidly; as
the English words Hat, her, fin, not, us; or as the first
syllable in Baron, level, city.
A long syllable is slowly pronounced, and generally re-
quires double the time used in the pronunciation of a short
one; as Hate, here, fine, note, use ; or as the first syl-
lable in the words Basis, lever, bible.
Common syllables are those, which may be made in
poetry either long or short; as the middle syllable of the
words Tenebra, volucris.
Lat. Pr. A
? ? 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
? 2 EXERCISES IN
A short syllable is marked thus w; a long one thus --;
and a common syllable thus --, or sometimes thus -- ~-^.
The quantity of syllables is determined either by estab-
lished rules, or by the authority of the poets.
Quantity is distinct from accent, though not inconsistent with
it. The former denotes the period of time occupied in pro-
nouncing a syllable; the latter is used to signify a peculiar stress
of the voice, by which one syllable in a word is distinguished
from the others. The one is length or continuance, the other
height or elevation, of sound. This distinction, however, accord-
ing to the usual mode of reading the ancient languages in our
own country, is generally disregarded.
The Latin is not pronounced by us agreeably to the laws estab-
lished by the ancients for its pronunciation, but nearly as we
pronounce our own language; and we are consequently accus-
tomed to violate all the rules of quantity, and to confound it, in
innumerable instances, with accent. Syllables are made long or
short without any regard to their natural length, but solely be-
cause from our mode of accentuation they would probably be so
pronounced, if they occurred in similar situations in English
words. Hence the first syllable of dissyllables, being always
accented, is uniformly pronounced long, while the first syllable
of trisyllables, when accented, is almost as generally made short.
We pronounce Opus,eques, miser, and rego, as though their first
syllable were long; but when these words become in their in-
flexions trisyllables, the proper quantity of the first vowel is
restored, and we say operis, Squitis, miseri, regere. In other
substantives and verbs, the roots are correctly pronounced, and
the quantity is violated in their increments; thus in our pro-
nunciation of Scribo, nomen, and sidus, the first syllable is
properly made long, but as soon as these words become trisylla-
bles, we shorten the long vowel and say Scribere, nominis, sidera.
It is obvious that by this frequent disregard of its rules of quan-
tity, much of the beauty and harmony of the language must be
sacrificed. Nor is this the only disadvantage resulting from our
? ? 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
? QUANTITY. . 3
corrupt pronunciation. It destroys a plain and useful mark of
distinction. The signification of a word often depends on the
quantity of one of its syllables. A lengthened vowel distinguishes
the ablative case of every noun in the first declension from the
nominative, the preterperfect tense of several verbs from the
present; and it sometimes determines what signification is to
be assigned to a word, which is susceptible of two different
meanings; thus Malus, a fruit-tree, is distinguished by the quan-
tity of its first syllable from the adjective Malus, wicked; Popu-
lus, a poplar tree, from Pdpulus, a people; Venir, he came, from
Vfinit, he comes.
A mode of pronunciation thus erroneous, and prejudicial to the
harmony and perspicuity of a language, cannot be too strongly
censured nor too soon abandoned. Any attempt to recover the
exact pronunciation of the ancients would certainly be fruitless;
but it is not perhaps altogether impracticable to observe those
laws both of accent and prosody, which they have left us. If,
however, one must be sacrificed to the other, there can be little
difficulty in deciding which should give place. Quantity is in
most cases fixed and known, while the nature of accent is but
little understood; it cannot then be doubtful to which the pre-
ference should be given. Accent should not indeed be neglected,
but quantity is of much greater importance, and nothing but ne-
cessity should occasion a violation of its rules.
The student, who is desirous of seeing this subject fully elu-
cidated,may consult Foster's Essay on Greek Accent, Pickbourn's
Dissertation on Metrical Pauses, and Valpy's Greek Grammar.
The Exercises affixed to this chapter consist of Ques-
tions designed to exemplify the preceding observations, the
answers to which are to be given by the pupil.
EXERCISES.
1.
What is quantity?
What is accent I
? ? 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
? * >> EXERCISES IN
What syllables are considered long?
By what mark is a long syllable distinguished?
2.
When is a syllable considered short?
How is a short syllable marked?
What is a common syllable?
By what mark is a common syllable known?
3.
Is the English word Made a long or a short syllable?
What is the quantity of Mad and name?
Are the words Met, them, men, long or short?
Mark over their vowels the quantity of the monosylla-
bles Theme, mete, glebe.
4.
Mark the quantity of the monosyllable Then.
What is the quantity of Hid, dim, ride?
What is the quantity of Rob and hope?
Mark the quantity of the words Robe, hops, sod.
S.
Are the words Tune and tube long or short?
Mark the quantity of Tun, cure, sung.
What is the quantity of the words Plume, give, hut?
Mark the length of the vowels In Plum and grape.
6.
Mark the quantity of the words Gold, live, roll.
What is the quantity of the middle syllable in the word
Confidence?
? ? 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
? QUANTITY. 5
Is the middle syllable long or short in the participles
Confiding and abusing?
Mark the quantity of the first syllable in the words
Cabin, cable, ruby.
', . 7.
What is the quantity of the first syllable in Sober, solid,
cadence, tenor?
Is the Latin language pronounced by us, as it was by
the ancient Romans?
What distinguishes the ablative of a noun of the first
declension from its nominative case?
How is the adjective Malus, wicked, distinguished
from Malus, a fruit-tree?
'8.
How is the preterperfect tense of a verb distinguished
from the present, when the word is the same in both
tenses? .
By what is the ablative Pugna distinguished from its
nominative Pugna?
What is the meaning of the noun Populus?
How is the quantity of a syllable determined?
CHAPTER II. --Vowels.
A vowel before another vowel is short; as Puer.
To this rule there are some exceptions. The vowel e is long
before >> in the genitive and dStive singular of nouns of the fifth
declension ? as Diei; but in Spei it is found short, and in Rei
and fidei it is common. 1 is long in all the tenses of the verb
? ? 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
? 6 EXERCISES IN
Fio, except in those, in Which it is followed by er; as Flam, fieri.
The first syllable in Aer, dius, and eheu, and the penultimate of
the ancient genitive in ax and vocative in ei are always long; as
Pompei, aulai.
In genitives in ius the vowel i is considered common in poetry,
though it is generally made long in prose; as Unlus or un'ius; but
in Alius, formed by cfasis or contraction from Aliius, the i is
always long, and in Alterius always short. The first syllable in
Diana, ohe, and Io is common.
The aspirate h is not in any instance considered as a letter in
prosody; so that if it stands between two vowels, the preceding
vowel remains shertj agreeably to the rule; as Nihil.
A vowel before two or more consonants, or a double
letter, of the consonant j, is long; as Tendens, gaza,
major.
As the quantity of the vowel in this case is determined by its
situation, it is said to be long by position.
Whether both or only one of the consonants which follow a
vowel, are in the same word with it, the vowel is equally length-
ened; as " Semper nocuit differre paratis. " If both the conso-
nants are in the following word, the vowel, when naturally short,
generally retains its original quantity, though it may perhaps be
considered common; as "Immensaqufi stagna; tela scandite. "
A vowel naturally short is also rendered common in poetry,
when it comes before a mute and a liquid, both of which are in the
following syllable; as Patris or patris; but if the mute and
liquid belong to different syllables, or if the liquid precedes the
mate, the vowel is lengthened; as obruo, fertis.
In the compounds of Jugum i before j is short; as Bijugus.
A diphthong is long; as Audio, ssvus.
Two vowels pronounced in one syllable are not always con-
sidered in prosody as a diphthong. The letter u, though uni-
formly included in the number of the vowels, appears to have
? ? 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
? ,? ? QBAKTITT. 1
sometimes the force of the old consonant v or vau, which an-,
swers to the w iu the English alphabet. Hence it does not
always lengthen the vowel, with which it is connected in pro-
nunciation: thus Lingua, sanguis, and requor have their last, and
Quatio and queror their first syllable short. The preceding rule
must consequently be restricted to the diphthongs <c, at, an, ti,
eu, a, oi.
Prse in composition is short before a rowel; as PnGeunt.
The vowel a at the end of a word is long; as Ami.
Eja, ita, quia, and all cases, except the ablative, have a final
short. l ? ? ?
Contra, juxta, ultra, and numerals in ginta, are sometimes
found with a short, but the most approved poets generally lengthen
the final vowel in these words.
The a in Postea is common.
E final is short; as Patre.
E final is long in the ablative of the fifth declension; as Ho,
die, and their compounds; as Quare, hodie; in nouns, which
have not a singular number; as Cete; in the imperative singular
of the second conjugation, except Cave, vale, vide, salve, which
have the e final common; in all monosyllables, except the en-
clitics que, ne, ve,pte, ce, te, de; as Atque", suaptg; in adverbs de-
rived from adjectives of three terminations, except Bene, male,
superne, inferne,"and also in Fame, ferme, fere, ohe.
/ final is long; as Belli.
Mihi, tibi, sibi, ibi, ubi, nisi, quasi, and oui when a dissyllable,
have the final vowel common; bnt in the three last of these
words, it is generally made short.
Neuter nouns in t have the final syllable short; as Gummi.
O final is common; as Leo or Leo.
Although the final o in verbs and gerunds is considered com-
mon, agreeably to the preceding rule, the poets of the Augustan
age generally lengthen it, except in Puto, scio, and nescio, which
? ? 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
? 8
EXERCISES IN
have their final syllable most commonly made short.
? final is long in monosyllables; as Pro, sto? ; and in dative
and ablative cases; as Libro. Adverbs derived from nouns, pro-
nouns, and adjectives, have in general the final ? long, but in the
following words it is usually short, Cita`, the compounds of modo,
ambo, duo, i mo, illico, the imperative cedo, ego, and homo: in
the following indeclinable words it is considered common, but is
most frequently made long, Denuo, sero? , profecto? , postremo, vero^,
porro, idcirco, ultro, retro, adeo, ideo. Ergo, for the sake of,
lengthens the o, but in Ergo, therefore, it is common.
U final is long; as Vultu^.
Indu, menu, and words in ut with the s elided, as Nunciu' fur
nuncius, have the final vowel short.
EXERCISES.
1.
What is the quantity of a vowel, when another vowel
immediately follows it in the same word?
Of what quantity is a vowel followed by two conso-
nants or a double letter?
Which of the consonants are denominated double let-
ters? .
? <Z? >
&<
? ? 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
? ,
? ^ *:*jd&
m '? <<? - -y
? ? 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
? LATIN PROSODY
AMD
VERSIFICATION.
BY THE REV. C. BRADLEY.
THE FOURTH EDITION.
T
LONDON:
Printed by A. J. Valpy, Red Lion Court, Fleet Street.
SOLD BY G. AND W. B. WHITTAKER; LONG
MAN AND CO. ; BALDWIN AND CO. ; AND ALL
OTHER BOOKSELLERS.
1823.
? ? 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
? /
1<<
Price St, 6d. bound.
. Mr* ,
? ? 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
? INDEX.
PART I.
QUANTITY.
Page
Chapter 1. Definitions . . . . . 1
2. Vowels . . . . . 5
3. Consonants . . . '. . 13
4. Compound, Derivative, and Contracted
Words . . ? . . 17
PART II.
SCANNING.
Chapter 1. Definitions . . ' . . '. 33
2. Hexameter . . . . . 34
3. Pentameter . . . . , S8
? ? 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
? Xii INDEX.
PART III.
VERSIFICATION.
Chapter
Page
2. Arrangement of Words
. 51
3. Elision . . . . .
? 59
4. Synmresis, Syncope, and Apocope
. 65
5. Di&resis, Epenthesis, and Paragoge
. 72
6. Enallage or Variation of Words
. 75.
7. Ellipsis
. 107
8. Epithets
. 114
9. Periphrasis . . . .
. 119
10. Miscellaneous Exercises
. 125
APPENDIX.
LYRIC AND DRAMATIC MEASURES.
Chapter 1. Feet 138
2. Metres 140
n
? ? 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
? PREFACE.
J. he branch of a classical education, which the
following sheets are designed to facilitate, has often
been censured as useless and absurd. The charge
has been as plausibly supported, as it has been
confidently repeated, and the inexperienced in-
structor of youth has sometimes been induced to
conclude, that the composition of Latin verse is a
culpable and ridiculous practice, calculated only to
waste the valuable time of his pupils, and to dis-
gust them with unprofitable difficulties.
But while this method of instruction has been thus
strongly condemned by many, who from indolence
or from a want of opportunity have never availed
themselves of its, advantages, the experience of
those who have adopted and steadily pursued it, has
? ? 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
? VI PREFACE.
clearly proved its utility, and sometimes, though
improperly, caused it to be made a primary instead
of a subordinate part of a liberal education.
The strong and frequent censure, with which
this exercise has been condemned, has perhaps
principally arisen from an erroneous opinion, that
a facility in writing verse is the only, or at least
the chief benefit, with which it is attended. The
acquisition of this elegant attainment must indeed
appear to the superficial observer to be the princi-
pal object, which it is calculated to promote; but
the experienced teacher knows, that while his pupil
is judiciously pursuing it, he is gradually obtaining
an extensive knowledge of the language, in which
he is attempting to express his thoughts, forming
a correct and refined taste from the authors, whom
he is endeavouring to imitate, and exercising, and
consequently strengthening, the inventive and dis-
criminating powers of his mind. He knows that
although he may never become a poet, he can
hardly avoid becoming less thoughtless and less
ignorant.
? ? 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
? PREFACE. Vli
The difficulty, with which the composition of
Latin verse is at first accompanied, will not be
alleged as an objection against it by any instructor,
who is aware of the frequent indolence of tlie
youthful mind, and who is willing to use the exer-
tion, which is necessary to counteract and remove it.
He knows that its difficulties are not insurmount-
able, and he will consider them as recommendations
in its favor, rather than as arguments against itf
"Difficulty," says Dr. Knox, "is naturally painful,
but to overcome it causes a very sensible pleasure,
and facilitates future conquests by adding courage.
To write Latin verse is certainly an arduous task to
a young boy; but the authority of his master, and
a spirit of emulation, urge him to attempt with
alacrity, what his own indolence would have led him
to neglect. Long practice gives facility. He finds
he has overcome what he once thought insur-
mountable. When any new undertaking offers
itself in future with a difficult and forbidding aspect,
he is not affrighted, for he recollects that, he has
already performed that, which appeared to ? him
? ? 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
? PREFACE.
impracticable. The exertion necessary to accomplish
that which is not easy, has a natural tendency to
give the mind fresh vigor. "
The present attempt to promote this useful
branch of instruction is obviously not intended for
the assistance of the advanced student.
It has
been the design of the Author to illustrate, for the
use of the lower and middle classes, the rules of
quantity, to afford a brief view of the construction
of the hexameter and pentameter verse, and to
point out some of the means, by which poetical
language may be brought within the measures of
regular versification. In the Appendix, with which
the present edition of the work is enlarged, he has
attempted to elucidate the feet and metres in the
most common use in Lyric Poetry.
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? EXERCISES
IN
latin $roaotJ|>-
PART I.
QUANTITY.
CHAPTER I. --Definitions.
The quantity of a syllable is the length of time, which
is occupied in pronouncing it.
A syllable is either short, long, or common.
A syllable is short when it is pronounced rapidly; as
the English words Hat, her, fin, not, us; or as the first
syllable in Baron, level, city.
A long syllable is slowly pronounced, and generally re-
quires double the time used in the pronunciation of a short
one; as Hate, here, fine, note, use ; or as the first syl-
lable in the words Basis, lever, bible.
Common syllables are those, which may be made in
poetry either long or short; as the middle syllable of the
words Tenebra, volucris.
Lat. Pr. A
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? 2 EXERCISES IN
A short syllable is marked thus w; a long one thus --;
and a common syllable thus --, or sometimes thus -- ~-^.
The quantity of syllables is determined either by estab-
lished rules, or by the authority of the poets.
Quantity is distinct from accent, though not inconsistent with
it. The former denotes the period of time occupied in pro-
nouncing a syllable; the latter is used to signify a peculiar stress
of the voice, by which one syllable in a word is distinguished
from the others. The one is length or continuance, the other
height or elevation, of sound. This distinction, however, accord-
ing to the usual mode of reading the ancient languages in our
own country, is generally disregarded.
The Latin is not pronounced by us agreeably to the laws estab-
lished by the ancients for its pronunciation, but nearly as we
pronounce our own language; and we are consequently accus-
tomed to violate all the rules of quantity, and to confound it, in
innumerable instances, with accent. Syllables are made long or
short without any regard to their natural length, but solely be-
cause from our mode of accentuation they would probably be so
pronounced, if they occurred in similar situations in English
words. Hence the first syllable of dissyllables, being always
accented, is uniformly pronounced long, while the first syllable
of trisyllables, when accented, is almost as generally made short.
We pronounce Opus,eques, miser, and rego, as though their first
syllable were long; but when these words become in their in-
flexions trisyllables, the proper quantity of the first vowel is
restored, and we say operis, Squitis, miseri, regere. In other
substantives and verbs, the roots are correctly pronounced, and
the quantity is violated in their increments; thus in our pro-
nunciation of Scribo, nomen, and sidus, the first syllable is
properly made long, but as soon as these words become trisylla-
bles, we shorten the long vowel and say Scribere, nominis, sidera.
It is obvious that by this frequent disregard of its rules of quan-
tity, much of the beauty and harmony of the language must be
sacrificed. Nor is this the only disadvantage resulting from our
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? QUANTITY. . 3
corrupt pronunciation. It destroys a plain and useful mark of
distinction. The signification of a word often depends on the
quantity of one of its syllables. A lengthened vowel distinguishes
the ablative case of every noun in the first declension from the
nominative, the preterperfect tense of several verbs from the
present; and it sometimes determines what signification is to
be assigned to a word, which is susceptible of two different
meanings; thus Malus, a fruit-tree, is distinguished by the quan-
tity of its first syllable from the adjective Malus, wicked; Popu-
lus, a poplar tree, from Pdpulus, a people; Venir, he came, from
Vfinit, he comes.
A mode of pronunciation thus erroneous, and prejudicial to the
harmony and perspicuity of a language, cannot be too strongly
censured nor too soon abandoned. Any attempt to recover the
exact pronunciation of the ancients would certainly be fruitless;
but it is not perhaps altogether impracticable to observe those
laws both of accent and prosody, which they have left us. If,
however, one must be sacrificed to the other, there can be little
difficulty in deciding which should give place. Quantity is in
most cases fixed and known, while the nature of accent is but
little understood; it cannot then be doubtful to which the pre-
ference should be given. Accent should not indeed be neglected,
but quantity is of much greater importance, and nothing but ne-
cessity should occasion a violation of its rules.
The student, who is desirous of seeing this subject fully elu-
cidated,may consult Foster's Essay on Greek Accent, Pickbourn's
Dissertation on Metrical Pauses, and Valpy's Greek Grammar.
The Exercises affixed to this chapter consist of Ques-
tions designed to exemplify the preceding observations, the
answers to which are to be given by the pupil.
EXERCISES.
1.
What is quantity?
What is accent I
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? * >> EXERCISES IN
What syllables are considered long?
By what mark is a long syllable distinguished?
2.
When is a syllable considered short?
How is a short syllable marked?
What is a common syllable?
By what mark is a common syllable known?
3.
Is the English word Made a long or a short syllable?
What is the quantity of Mad and name?
Are the words Met, them, men, long or short?
Mark over their vowels the quantity of the monosylla-
bles Theme, mete, glebe.
4.
Mark the quantity of the monosyllable Then.
What is the quantity of Hid, dim, ride?
What is the quantity of Rob and hope?
Mark the quantity of the words Robe, hops, sod.
S.
Are the words Tune and tube long or short?
Mark the quantity of Tun, cure, sung.
What is the quantity of the words Plume, give, hut?
Mark the length of the vowels In Plum and grape.
6.
Mark the quantity of the words Gold, live, roll.
What is the quantity of the middle syllable in the word
Confidence?
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? QUANTITY. 5
Is the middle syllable long or short in the participles
Confiding and abusing?
Mark the quantity of the first syllable in the words
Cabin, cable, ruby.
', . 7.
What is the quantity of the first syllable in Sober, solid,
cadence, tenor?
Is the Latin language pronounced by us, as it was by
the ancient Romans?
What distinguishes the ablative of a noun of the first
declension from its nominative case?
How is the adjective Malus, wicked, distinguished
from Malus, a fruit-tree?
'8.
How is the preterperfect tense of a verb distinguished
from the present, when the word is the same in both
tenses? .
By what is the ablative Pugna distinguished from its
nominative Pugna?
What is the meaning of the noun Populus?
How is the quantity of a syllable determined?
CHAPTER II. --Vowels.
A vowel before another vowel is short; as Puer.
To this rule there are some exceptions. The vowel e is long
before >> in the genitive and dStive singular of nouns of the fifth
declension ? as Diei; but in Spei it is found short, and in Rei
and fidei it is common. 1 is long in all the tenses of the verb
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? 6 EXERCISES IN
Fio, except in those, in Which it is followed by er; as Flam, fieri.
The first syllable in Aer, dius, and eheu, and the penultimate of
the ancient genitive in ax and vocative in ei are always long; as
Pompei, aulai.
In genitives in ius the vowel i is considered common in poetry,
though it is generally made long in prose; as Unlus or un'ius; but
in Alius, formed by cfasis or contraction from Aliius, the i is
always long, and in Alterius always short. The first syllable in
Diana, ohe, and Io is common.
The aspirate h is not in any instance considered as a letter in
prosody; so that if it stands between two vowels, the preceding
vowel remains shertj agreeably to the rule; as Nihil.
A vowel before two or more consonants, or a double
letter, of the consonant j, is long; as Tendens, gaza,
major.
As the quantity of the vowel in this case is determined by its
situation, it is said to be long by position.
Whether both or only one of the consonants which follow a
vowel, are in the same word with it, the vowel is equally length-
ened; as " Semper nocuit differre paratis. " If both the conso-
nants are in the following word, the vowel, when naturally short,
generally retains its original quantity, though it may perhaps be
considered common; as "Immensaqufi stagna; tela scandite. "
A vowel naturally short is also rendered common in poetry,
when it comes before a mute and a liquid, both of which are in the
following syllable; as Patris or patris; but if the mute and
liquid belong to different syllables, or if the liquid precedes the
mate, the vowel is lengthened; as obruo, fertis.
In the compounds of Jugum i before j is short; as Bijugus.
A diphthong is long; as Audio, ssvus.
Two vowels pronounced in one syllable are not always con-
sidered in prosody as a diphthong. The letter u, though uni-
formly included in the number of the vowels, appears to have
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? ,? ? QBAKTITT. 1
sometimes the force of the old consonant v or vau, which an-,
swers to the w iu the English alphabet. Hence it does not
always lengthen the vowel, with which it is connected in pro-
nunciation: thus Lingua, sanguis, and requor have their last, and
Quatio and queror their first syllable short. The preceding rule
must consequently be restricted to the diphthongs <c, at, an, ti,
eu, a, oi.
Prse in composition is short before a rowel; as PnGeunt.
The vowel a at the end of a word is long; as Ami.
Eja, ita, quia, and all cases, except the ablative, have a final
short. l ? ? ?
Contra, juxta, ultra, and numerals in ginta, are sometimes
found with a short, but the most approved poets generally lengthen
the final vowel in these words.
The a in Postea is common.
E final is short; as Patre.
E final is long in the ablative of the fifth declension; as Ho,
die, and their compounds; as Quare, hodie; in nouns, which
have not a singular number; as Cete; in the imperative singular
of the second conjugation, except Cave, vale, vide, salve, which
have the e final common; in all monosyllables, except the en-
clitics que, ne, ve,pte, ce, te, de; as Atque", suaptg; in adverbs de-
rived from adjectives of three terminations, except Bene, male,
superne, inferne,"and also in Fame, ferme, fere, ohe.
/ final is long; as Belli.
Mihi, tibi, sibi, ibi, ubi, nisi, quasi, and oui when a dissyllable,
have the final vowel common; bnt in the three last of these
words, it is generally made short.
Neuter nouns in t have the final syllable short; as Gummi.
O final is common; as Leo or Leo.
Although the final o in verbs and gerunds is considered com-
mon, agreeably to the preceding rule, the poets of the Augustan
age generally lengthen it, except in Puto, scio, and nescio, which
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? 8
EXERCISES IN
have their final syllable most commonly made short.
? final is long in monosyllables; as Pro, sto? ; and in dative
and ablative cases; as Libro. Adverbs derived from nouns, pro-
nouns, and adjectives, have in general the final ? long, but in the
following words it is usually short, Cita`, the compounds of modo,
ambo, duo, i mo, illico, the imperative cedo, ego, and homo: in
the following indeclinable words it is considered common, but is
most frequently made long, Denuo, sero? , profecto? , postremo, vero^,
porro, idcirco, ultro, retro, adeo, ideo. Ergo, for the sake of,
lengthens the o, but in Ergo, therefore, it is common.
U final is long; as Vultu^.
Indu, menu, and words in ut with the s elided, as Nunciu' fur
nuncius, have the final vowel short.
EXERCISES.
1.
What is the quantity of a vowel, when another vowel
immediately follows it in the same word?
Of what quantity is a vowel followed by two conso-
nants or a double letter?
Which of the consonants are denominated double let-
ters? .
