No More Learning

This however is done only in scanning, and not in writing,
nor in the usual mode of pronouncing a verse. In the two
latter cases, the lines are always written, and generally pro-
nounced, without any elisions. *
Synaloepha affects not only a single syllable, but also two
syllables sounded as one by synseresis; as,
Virg. Slell'io; et lucifugis congesta cubilia blattis.
Catul. Et earum omnia adirem furibunda latibula.
pronounced Stetl yet, omn yad.
Exception. --Synaloepha never takes place in the words
O, heu, ah, firoh, vah, hex, and the like interjections,
which sustain the voice, and retard the pronunciation, by
reason of the feeling or passion which they express; as,
Virg. 0 pater, 6 hominum divumque (Sterna potestas.
Idem. Heu ubi pacta fides? ubi que jurare solebas?
Ovid. Ah ego non possum tanta videre mala.
Idem. Et bis id Arethusa, id Arethusa vocavit.
The poets frequently retain other long vowels or diph-
thongs unelided ; in which case, the vowel or diphthong so
according to its etymology, refers, not so much to the elision of one vowel
before another, as to the blending of two vowels or syllables intQ one. On
this account some have considered the term Synal&plia, as commonly used,
an improper one, and recommend that instead of Synaloepha and Ecthlip-
sit, the general term Elision be substituted.
y The best opinion, with regard to the ancient mode of pronouncing
Latin verse, is this, that much of the apparent harshness of elisions was
removed, by giving the elided syllable so slight and imperfect a sound, that
it could hardly be distinguished, and consequently interrupted but little
the measure of the verse,
G
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? 74
FIGURES OF PROSODY.
preserved from elision, becomes common, though generally
made short ;z as,
Virg. Ter sunt conati imponere Pelib Ossam.
Idem. Glaucd, et Panopeh, et Inoo Melictrt*.
Idem. Insula Ionio in magno, quas dira CeUno.
Lucr. Anni tempore eo, qui Etetim esse feruntur.
A short vowel more rarely escapes elision; yet some in-
stances de-occur; as,
Lucil. Vera putant: credunt signis cor inesse ahenis.
Colum. Delie te Poean, et te Eule, Euie Penan.
Catul. O factum male ! o miselle passer !
Idem. Male est, mehercule, et laboriose.
In each of the three last lines however there is a pause,
which may be partly instrumental in producing this effect,
by preventing the clash of the vowel which is unelided, with
that which follows.
A vowel at the end of a verse is not in general elided,
when the first word of the following verse begins with a
vowel. In some cases however, when a long pause does not
intervene to suspend the voice, (it not being required by the
sense,) but merely that slight pause ensues, which necessa-
rily takes place at the end of every verse, we find the final
vowel requiring elision ; as,a
Virg. Jactemur, doceas: ignari hominumque locorum \ que
Erramus, vento hue et vastis fluctibus acti.
in which the second line must be read, qu' Erramus, &c.
When the final vowel of a word is elided, the effect of the
syllable as a Caesura is hardly perceptible, and it ought not
perhaps to be regarded, in any instance, as a Caesural syl-
lable.
The student is referred to the list at the end of the Figures
of Prosody, for the instances which occur in Virgil, of vowels
remaining unelided.
Z A long vowel being equal to two short, and a diphthong actuallv con-
sisting of two, the latter vowel is supposed to be elided, leaving the other,
as it originally was, abort by position. Where the syllable remains long,
both vowels are supposed to be preserved unelidt d.
a See remarks upon the figure " Synapheia. "
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? FIGURES OF PROSODY.
75
Ecthlifisis. . .
M vorat Ecthlipsis quoties vocalibus anteii.
Ecthlipsisb is the elision of the consonant M with its pre-
ceding vowel, at the end of a word, when the following word
begins with a vowel or the aspirate h ; as,
Catul. Omnia tecu'M. Una fierierunt gaudia nostra.
Idem. MtemuM. Hoc sancte fo&dus amicitia.
Ih scanning which lines we must read them as follows:--
Omnia tec' una fierierunt gaudia nostra.
jEtern' hoc sancta fc&dus amicitia.
But we are to do this only in scanning, and not in writing
or pronouncing them.
Ecthlipsis sometimes, by the aid of Synapheia, strikes out
a syllable at the end of a line, when the next word begins
with a vowel, and no long pause intervenes; as,
Virg. Jamque iter emensi, turres ac tecta Latino\r\im
Ardua cernebant juvenes, murosque subibant.
In which the second line is to be read, r'Ardua, &c.
The earlier Latin poets often preserved the final M before
a vowel, and made the syllable short; a practice which was
retained by their successors, in the compounds of Con and
Circum. (See Section xxi. )
In some instances also, the Caesura operates in preserving
the M with its preceding vowel unelided, and making the
syllable long. (See " Csesura," part 2. )
The final S was also frequently elided by the earlier poets,
not only before a vowel, with the loss of a syllable, as in
li The terra Ecthlipsis (tuB^i^is) comes from the verb mUxiCiiti eff-
tJere. --The principle on which the use of this figure rests, has been ex-
plained in a very ingenious and. satisfactory manner by Dr. Carey. He sup-
poses that the Romans did not give to the consonant m that full and audible
pronunciation which it receives in English, but a slight nasal sound, such as
the French give to it in the word Faim, and the Portuguese at the present
day even in Latin words. As corroborative of the truth of this position, he
refers to Cicero, Oral. 45. and Quintilian, 9, 4. --If this be the correct doc-
trine, it will appear that the Romans gave the consonant m a pronunciation
so slight, that its sound at the end of a word in poetry was too feeble to pre-
serve it and the preceding vowel from elision. See Note b, page 1.
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? 16
FIGURES OF PROSODY.
Plautus and Terence, but also before a consonant, without
the loss of a syllable ;c as
Ennius. Vicimua o aocii, et magnam pugnavimu' fiugnam.
Lucil. Deblatcrat filenus bonu' rusticu'; concinit unci.
This species of elision seems to have taken place chiefly
in short syllables; yet it was also occasionally practised in
long ; as, multi' modis, vas' argenteis, fialm' et crinibus,
tecli' Jractis, for multis modis, vasis argenteis, fialmis et
crinibus, tectis fractis.
Not only S and its vowel thus suffered elision, but ST
also; as, fio' meridiem, fiomerldianus, for fiost meridiem,
flostmeridianus.
In the body of words also, the consonant S was sometimes
elided, or else obscured in the pronunciation; as, Camante
for Casmxna, CamiUua for Caamitlus, Camilla for Casmilla,
Sec.
Before quitting the subject of Elision, it may be as well
to add the following rules, which regulate its use
1. A verse, in -which there are more than two elisions, is
most commonly deficient in harmony; as the following1
pentameter line :--
Catul. Quam modo qui me unum atqae unicum amieum
habuit.
3. 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
c About Cicero's lime it began tn be generally sounded. Cicero however,
as well as his contemporaries Catullus and Lucretius, sometimes omitted
it in their poetry. Dr. Carey supposes that the early ltoman pons gene-
rally pronounced the final S when immediately followed by a vowel, but
that before consonants it was optional with tbem either to pronounce the
final S and make the syllaMe long by position, or not to pronounce it, and
thus retain it short. And th'jt about the commencement of the Augustan
lera, the rule was established that the final S should always be pronounced
in poetry as well before consonants as before vowels. ---L'icero, Orat. 48.
speaking of the pronunciation of the final S, observes: " Qjiineliam . . . quod
*' jam subrusticum videtur, olim autem politius . . corum verborum, quo-
? ' rum esedem erant postremas duse liters; qua; sunt in Optumus, postre-
" mam literam detrahehant, nisi vocalis insequebatur. Ita non erat offensio
? ( in versibus qnara nunc fugiunt poetse novi: ita enim loqu'bantur, Qui est
f omnibu' princeps, non Omnibus princeps, et Vita ilia Wignu' loeodQe, non
" dignus. "--To the same effect are the remarks of Quintilian, 9, 4.
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? FIGURES OF PROSODY.
ft
the elided vowel is either naturally short, or followed by a
long syllable ; as,
Virg. Ipse ego cana legam tenera lanugine mala.
Idem. Tum casia atque aliis intexens suavibus herbis.
3. An elision has seldom a good effect, when it occurs in
the first syllable of a verse--in the end of the fifth foot of an
hexameter--immediately after the penthemimeris in a pen-
tameter--or in a word ending with a long vowel, before a
word beginning with a short vowel; as,
Horat. Nam ut ferula ctedas meritum majora subire.
Juv. Lorifiedem rectus derideat jEthiopem albus.
Catul. Troja nefas ! commune sefiulcrumY. xir<yp&jtiieque.
Idem. Me misero eripuisti omnia nostra bona*
3. SYN. ERESIS.
Syllaba de gemina facta una Synseresis esto.
Synseresis is the contraction of two syllables into one ;d as,.
Ovid. Quid fiater Ismario, quid mater firofuit Orpheo?
the EO being sounded together within the time of one syN
lable, as in the name Romeo, in Shakspeare.
" Romeo slew Tibalt: Romeo must not live.
The use of Synaeresis is frequent in li, iidem, iisdem ; dii,
diis; dein, deincefis, dtinde; deest, deerat, deero, deerit,
deeas'e ; cui, and huic.
Synseresis however may often be referred to Synalcepha,
or in other words, the first vowel, in many instances, may
rather be considered as elided, than as uniting with the fol-
lowing vowel to form one syllable. Thus, jinteambuh, an',
teire, antehac, semianimis, semihomo, &c. and other com-
pound words, ought in strictness perhaps to be regarded as
suffering elision, and to be pronounced Ant'ambulo, ant'iret
Sec. This opinion receives, in many cases, strong confirma-
tion from the quantity of the vowel which begins the latter
part of the compound word. This vowel often retains its
original quantity, when that quantity is short; which it would
(1 Synaresis CrvtMmt) is derived frpni fvia. i^m, contrahere.
G2
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? 78 FIGURES OF PROSODY.
not do, if the two vowels were united by Synaeresis, instead
of the first being elided by Synaloepha, but would in every
such instance become necessarily long.
Other cases occur, in which two vowels, properly belong-
ing to separate syllables, are united into one, which retains
the original quantity of the latter vowel whether long or
short; as in Abiete, dbiegna, driete, fidrietibus, tenuius,
firincifiium, flituita, fortuitos, vindemidtor, JVasidieni. --
Here the I and U suffering somewhat of a change from
their vowel state, are used like the initial Y and W in Eng-
lish ; on which occasions the I or U operates as a consonant,
and has (in conjunction with another consonant) the power
of lengthening a preceding short vowel. Hence we must
pronounce these words, Ab-yete, db-yegna, dr-yete, fidr-
yetibus, ten-wius, firincifi-yum,fiit-wita,fort-v>ito8,vindem-
ydtor, JVasid-yeni,
In Statius, Silv. 1, 4, 36, and Theb. 12, 2. the word
lenuiore occurs, in which the license is carried still farther,
and which must be pronounced ten-wiore.
In Virgil, Geo. 1, 482. the word flwviorum begins the
line, and many have supposed the first foot of the verse toi
be an anapaest. By reading the word however, Jluvydrum,
the difficulty entirely disappears, and the initial foot becomes
3 spondee.
4. DI. EB. ESIS, OR DIALYSIS.
Distraint in geminas resoluta Diaeresis unatn.
Diteresise is the division of one syllable into two; as aurae
for aura, suddent for madent, Troia for Troja or Tioi-a,
siiesco for suesco, miluus for milvus, silua for silva, soluo
for solvo.
Virg, Mtkereum sensum, atque aurdi simfilicis ignem.
Luc. Atque alios alii irrident; Veneremque suddent.
Sen.
Misit infestos Troite minis.
Horat. Mine mare, nunc silua.
Tibul. Nulla queat fiosthac nos soluisse dies.
e Diaeresis (tuufu) from tkUpil) dhiidere. --Dialysis (J/^^v^feX-
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? FIGURES OF PROSODY.
As the Ionic dialect in Greek frequently resolves the
diphthongs u and ti into t>>, the Roman poets occasionally
availed themselves of that license in words of Greek deriva-
tion, originally written with either of those diphthongs; as,
Stat. Qua* inter vultu fietulans Elegia firofiinguat.
Ovid. Blanda fiharetratos Elegeia cantat amores.
So also, Phmbeus and Phwbeius, Baccheus and Baccheius,
Rheteus and Rhateiw, Thressus and Threissus, Threcius
and Thrticim, 8cc.
5. PROSTHESIS--APHjERESIS.
Prosthesis afifionit fronti, quod A phoresis aufcrt.
Prosthesis' is the addition of a letter or syllable at the be-
ginning of a word; as Gnatus for natus, gnavus for navus,
tetuli for tuli.
Aphseresis? is the cutting off of the first letter or syllable
of a word 5 as 'st for est, conia for ciconia, tenderant for
tetenderant, maragdos for smaragdos.
6. SYNCOPE EPENTHESIS.
. Syncopa de medio tollit quod Epenthesis infert.
Syncopeh is the omission of a letter or syllable in the
middle of a word; as Pcenum for Poznorum, fiofilus for
fiofiulus:
The words most frequently contracted by Syncope, are
(he proeter tenses of verbs, as serifisti for scrifisisti, dixti for
dixisti, firomisse for firomisisse, illuxe for illuxisse--the
participles of compound verbs, as refiostum for refiositum--
genitives plural, as dtum for deorum, amantum for amanti-
um--and words which have an U in the penult before the
consonant L, as vinclum for vinculum.
f Prosthesis (ir^orlito-is) from irgocrT/Stmi, apponere*
g Aphaeresis (ap*igw<<) from a? <t/j8/K, avferre.
h Syncope {vvywin) from vxiyttmiftt) conscfydege',
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? 89 , FIGURES OF PKOSODY.
Epenthesis' is the insertion of a letter or syllable into the
body of a word, as Alituum for alitum, to accommodate the
poet with a dactyl in dlitu--seditio, redimo, redeo, to prevent
the hiatus of two vowels--filuvi, fuvi, adnuvi, genuvi, to
lengthen the short U of film, fui, adnui, genui.
7. APOCOPE--PARAGOGE.
Apocope demit finem, quem dat Paragoge.
Apocopek is the omission of the final vowel or syllable of
a word, before another word beginning with a consonant; as
Men' for mene, seu (or setv) for sive (siive or sewe), neu (or
new) for neve (or neive).
Paragoge1 is the addition of a letter or syllable to the end
of a word ; as Amarier for amari, dicier for did, farier for
fari.
The words most frequently lengthened by Paragoge, are-
verbs passive and verbs deponent in the infinitive mood.
8. TMESIS.
Per Tmesim inseritur medio vox altera vocis.
Tmesis"1 is the division of a word into two parts, for the
purpose of inserting another word between them ; as,
Virg. Talis Hyfierboreo Septem-safi/ecfa-trioni.
Lucr. Languidior fiorro disjeclis, dis-yue-sipatis.
Idem. Ctetera de genere hoc, inter-yutfcwmg'tte-pretantur.
This figure generally takes place in compound words, se-
parating the members of the compound^ as in the examples
just given.
i Epenthesis (eff<<v6<<<r<c) from art, super, and JVT/Sfva/, imponere.
k Apocope (*a-oxojr>>) from tuirtumnn, abscindere.
1 Paragoge {va. ^a. yuy>,y from . jra. ^a. yui, producere.
m Tmesis (i/tucr/;} from vipwtj secure,
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? FIGURES OF PROSODY.
81
9. ANTITHESIS--METATHESIS.
Ji/'onnunquam Anlithesi mutator iitteru, ut OUi:
Cum firofiria, migrat de sede, Metathesis csto.
By Antithesis0 one letter is put for another; as OUi for
Mi, faciundum for faciendum.
By Metathesis,0 a letter or syllable is transposed ; as Pis-
iris for firistis, Lybia for Libya, corcodilus for crocodilus.
10. SYSTOLE.
Systola firacifiitat fiositu vel origine longam.
By Systole,P a'syllable naturally long is made short, or a
syllable which ought to become long by position, is preserved
short; as Viden' for vides-ne, in which the E is naturally
long--satin' for satis-ne, in which the short syllable TIS
should become long by position--hodie for hoc die--multi-
modis for multis modis.
The prepositions AB, AD, OB, SUB, RE, which are na-
turally short, but would, when compounded with Jacia, be
rendered long by position, are sometimes made to retain
their original quantity by the elision of the J.
Ovid. Turfie fiutas abici, quod sit tniserandus, amicunt.
Mart. Siquid nostra tuis adicit vexatio rebus.
Claud. Cur annos obicis ? fiugnte cur arguor imfiar ?
Luc. Jfise manu subicit gladios, ac tela ministrat.
Stat. Tela manu ; reicityue canes in vulnus Mantes.
The most common instances of Systole however occur in
the penultima of the third person plural of the preterite of
verbs; as defuerunt, firofuerunt, miscuerunt, dederunt, ste-
terunt, tulerunt, abierunt, &c. for defuerunt, firofuerunt,
n Antithesis (<<VTi9<<o-/t) from ayrirtSiva. 1, loco alterius rem aliquam
ponere.
o Metathesis . ((WSTaOsint) from ftiTaTiflsv**, transponere.
p Systole (0-uo-TOMf) from ru7Tih. Mii, eorripere.
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? 82 FIGURES OF PROSODY.
miacuiruntfl &c. See Table at the end of Figures of Pro-
sody.
11. ECTASIS, OR DIASTOLE.
Eetasis extendilque brevem, dufilicatque elementum.
By Eetasis, or Diastole,1 a syllable naturally short is made
long; as,
Lav. And. Cum socios nostros mandisset imfiiu' Cyclofis.
Ennius. Omnia cura viris uter esset indufierator.
This license however was rarely used by the poets of the
more polished ages, excepting in proper names (particularly
polysyllables,) which could not otherwise have been intro-
duced into their lines; as,
Ovid. Hanc tibi Priamides mitto, Ledaa, salutem.
Virg. Sunt etiam Amineae vites, Jirmissima vina.
Prop. Et domus intacta te tremit Arabise.
The particle RE, although naturally short, is made long
"in many compound words; as Religio, reliquiae, reliquus,
re/ierit, retulit, re/iulil, recidit, reducere, &c. This how-
q These perfects with short penults have given rise to considerable dis-
oussion. The Port-Koyal Grammarian maintains that the penult of the
tense in question was originally short, or at least common, especially iu
verbs of the third conjugation ; and that one might say kgSnmt as well as
leairant, legirent, etc. this analogy being particularly founded on the K
followed by an it. In confirmation of this opinion, he quotes the following
passage from Diomedes:--" fere in tertio online plemmque veteres tertid
persond Jinitivd temporis perfecti, Humeri pluralis, K metliam vocalem
corripiunt, quasi legfirunt, emerunt, kc. " and then adds, " we might far-
ther produce a vast number of authorities, which show that this is not a
licentia poelica, but the ancient analogy of the language. "--Dr. Carey on
the other hand asserts, that the shortening of the syllable in question is a
gross violation of prosody ; that these perfects with short penults are either
the errors of copyists, for pluperfect tenses, which in his opinion yield a
more elegant reading, or else must be considered as instances of Syndesis,
and pronounced accordingly. -- Heyne however, in remarking on the reading
tullmnt (Virg. Ec. 4, 61. ) which he admits intp the text as well as the other
instances of Systole wherever they occur, observes, M male metuentes metro
alii, tulerint, tulerant, Uegunt); and in ^n. 2. 774, where steilrunt occurs,
" steterantque prave. "--We can only add, " JVon nostrum tantas compo-
nere lites. " The best advice that can be given to the young prosodian, is
to avoid making use of the figure in these tenses.
r Brtnsis (fxra<<-/c) from <<*T<<m/v, extendere. --Diastole (titMrrtx>>')
from Sintrrtwtiv, producere.
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? FIGURES OF PROSODY.
ever was no doubt owing either to the consonant's having
been actually doubled, as relligio, relliguice, &c. or to the
circumstance of an emphasis having been laid upon the
single consonant, producing the same effect as if it had been
actually doubled.
The first syllable in Quatuor, when made long, has also
been regarded as an instance of Diastole, since quatuor is
found short in Ennius, and its derivatives, guater, guaterni,
guadrufies, Sec. have the a short; but Gesner and Vossius
maintain that Virgil should be made the standard of pronun-
ciation with regard to the word in question, and that the first
syllable should be considered long, as he uniformly makes it.
12. SYNAPHEIA.
Cofiulat irrufito versus Synapheia tenore,
Synapheia,5 is the connecting of verses together, so as to
make them run on in continuation, as if the matter were not
divided into separate verses. By this arrangement the initial
syllable of a succeeding verse, has an influence on the final
syllable of the preceding--affecting it by the concourse of
consonants, by ecthlipsis, and by synalcepha.
Synapheia chiefly prevailed in Anapaestic and Ionic a mi-
nore verse, in which, strict attention was paid to its observ-
ance. Its occurrence in other species of verse, was occasional
and limited.
The following anapaestic lines furnish examples of the
effects of the Synapheia.
Pracefis silvas montesgue fuglt
Citus Actaon, agiligue magis
Pede fier saltus et saxa vagus
Metuit motas Zefihyris filumas. Seneca.
The short final syllables of fugit, magis, and vagus, here
become long by position before the initial consonants in the
subsequent lines.
Among other instances of Synapheia, the following may
be enumerated:---
s Sjoapheia (rvyaywa) from nnMTWi conjungere-
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? FIGURES OF PROSODY.
Virg. Inseritur vero ex f<x. tu nucis arbutus //om'|da
Et steriles platani malos gessere valentes.
Idem. Jactemar, doceas : ignari hominumque locorum [que
Erramus, vento hue, et uastis Jluctibus acti.
Horat. Dissidens filebi, numero 4tfafo|rum
Eximit Virtus.
Idem. Cur facunda fiarum deco\ro
Inter verba cadit lingua silentio ?
In the first, second, and third examples, the Synapheia and
Synakepha are combined, in the third the Synapheia and
Ecthlipsis.
In most cases however where the Synapheia operates, (ex-
cepting the Anapaestic and Ionic a minore measures,) there is
little or no pause at the end of the line.
In the Greek dramatic choruses, a word is frequently
divided by Synapheia between two verses. In Latin poetry
this is more rarely done, and chiefly, if not always, in the
case of compound words. --Vide Horat. Sat. 2, 3, 117. 1, 2,
62--Epist. 2, 2, 188--Art. Poet. 290. --See also remarks
upon the " Sapphic Verse. "
The student is referred to the end of the following Syn-
opsis, for the instances of Synapheia, which occur in Virgil.