No More Learning

Be added to your years what mine abate,
And in my children Paullus' age be blessed.

'Tis well: for child I ne'er wore mourning weed;
But my whole troop came to my obsequies.
My plea is done. While grateful earth life's meed
Repays, in tears ye witnesses arise.
Heaven opes to such deserts; may mine me speed
To join my honoured fathers in the skies.

L. J. LATHAM.


_217_

I give a part of the version of Stepney, whom Dr. Johnson describes as
'a very licentious translator'.

IF mighty gods can mortal sorrows know,
And be the humble partners of our woe,
Now loose your tresses, pensive Elegy,--
Too well your office and your name agree.
Tibullus, once the joy and pride of Fame,
Lies now--rich fuel--on the trembling flame;
Sad Cupid now despairs of conquering hearts,
Throws by his empty quiver, breaks his darts,
Eases his useless bows from idle strings.
Nor flies, but humbly creeps with flagging wings--
He wants, of which he robbed fond lovers, rest,--
And wounds with furious hands his pensive breast.
Those graceful curls which wantonly did flow,
The whiter rivals of the falling snow,
Forget their beauty and in discord lie,
Drunk with the fountain from his melting eye.
. . . . . . . .
In vain to gods (if gods there are) we pray,
And needless victims prodigally pay;
Worship their sleeping deities, yet Death
Scorns votaries and stops the praying breath:
To hallowed shrines intending Fate will come,
And drag you from the altar to the tomb.
Go, frantic poet, with delusions fed,
Thick laurels guard your consecrated head--
Now the sweet master of your art is dead.
What can _we_ hope, since that a narrow span
Can measure the remains of thee, Great Man?
. . . . . . . .
If any poor remains survive the flames
Except thin shadows and mere empty names,
Free in Elysium shall Tibullus rove,
Nor fear a second death should cross his love.
There shall Catullus, crowned with bays, impart
To his far dearer friend his open heart;
There Gallus (if Fame's hundred tongues all lie)
Shall, free from censure, no more rashly die.
Such shall our poet's blest companions be,
And in their deaths, as in their lives, agree.
But thou, rich Urn, obey my strict commands,
Guard thy great charge from sacrilegious hands;
Thou, Earth, Tibullus' ashes gently use,
And be as soft and easy as his Muse.

G. STEPNEY.


_240_

AFTER death nothing is, and nothing death--
The utmost limits of a gasp of breath.
Let the ambitious zealot lay aside
His hope of heaven, whose faith is but his pride;
Let slavish souls lay by their fear,
Nor be concerned which way, or where,
After this life they shall be hurled.
Dead, we become the lumber of the world,
And to that mass of matter shall be swept
Where things destroyed with things unborn are kept.
Devouring Time swallows us whole,
Impartial Death confounds body and soul.
For Hell and the foul Fiend that rules
The everlasting fiery goals,
Devised by rogues, dreaded by fools,
With his grim grisly dog that keeps the door,
Are senseless stories, idle tales,
Dreams, whimsies and no more.

JOHN WILMOT, EARL OF ROCHESTER.


_261_

AND so Death took him. Yet be comforted:
Above this sea of sorrow lift thy head.
Death--or his shadow--look, is over all;
What but an alternating funeral
The long procession of the nights and days?
The starry heavens fail, the solid earth
Fails and its fashion. Why, beholding this,
Why with our wail o'er sad mortality
Mourn we for men, mere men, that fade and fall?
Battle or shipwreck, love or lunacy,
Some warp o' the will, some taint o' the blood, some touch
Of winter's icy breath, the Dog-star's rage
Relentless, or the dank and ghostly mists
Of Autumn--any or all of these suffice
To die by. In the fee and fear of Fate
Lives all that is. We one by one depart
Into the silence--one by one. The Judge
Shakes the vast urn: the lot leaps forth: we die.
But _he_ is happy, and you mourn in vain.
He has outsoared the envy of gods and men,
False fortune and the dark and treacherous way,
--Scatheless: he never lived to pray for death,
Nor sinned--to fear her, nor deserved to die.
We that survive him, weak and full of woes,
Live ever with a fearful eye on Death--
The how and when of dying: 'Death' the thunder,
'Death' the wild lightning speaks to us.
In vain,--
Atedius hearkens not to words of mine.
Yet shall he hearken to the dead: be done,
Sweet lad he loved, be done with Death, and come,
Leaving the dark Tartarean halls, come hither;
Come, for thou canst: 'tis not to Charon given,
Nor yet to Cerberus, to keep in thrall
The innocent soul: come to thy father, soothe
His sorrow, dry his eyes, and day and night
A living voice be with him--look upon him,
Tell him thou art not dead (thy sister mourns,
Comfort her, comfort as a brother can)
And win thy parents back to thee again.

H. W. G.


_262_

WHAT sin was mine, sweet, silent boy-god, Sleep,
Or what, poor sufferer, have I left undone,
That I should lack thy guerdon, I alone?
Quiet are the brawling streams: the shuddering deep
Sinks, and the rounded mountains feign to sleep.
The high seas slumber pillowed on Earth's breast;
All flocks and birds and beasts are stilled in rest,
But my sad eyes their nightly vigil keep.
O! if beneath the night some happier swain,
Entwined in loving arms, refuse thy boon
In wanton happiness,--come hither soon,
Come hither, Sleep. Let happier mortals gain
The full embrace of thy soft angel wing:
But touch me with thy wand, or hovering
Above mine eyelids sweep me with thy train.

W. H. FYFE.

I append six _Sonnets to Sleep_ by six English poets of very different
genius, none of whom, save perhaps Drummond, seems to have been
influenced by Statius. Cowley's poem _To Sleep_ in the _Mistress_ may
perhaps also be read--the last line shows that Cowley recalled Statius.

COME, Sleep, O Sleep! the certain knot of peace,
The baiting-place of wit, the balm of woe,
The poor man's wealth, the prisoner's release,
The indifferent judge between the high and low;
With shield of proof shield me from out the prease
Of those fierce darts Despair at me doth throw:
Oh, make in me those civil wars to cease!
I will good tribute pay if thou do so.
Take thou of me smooth pillows, sweetest bed,
A chamber deaf to noise and blind of light,
A rosy garland and a weary head:
And if these things, as being thine by right,
Move not thy heavy grace, thou shalt in me
Livelier than elsewhere Stella's image see.

SIDNEY.

CARE-CHARMER Sleep, son of the sable Night,
Brother to Death, in silent darkness born,
Relieve my languish and restore the light;
With dark forgetting of my care, return:
And let the day be time enough to mourn
The shipwreck of my ill-adventured youth:
Let waking eyes suffice to wail their scorn,
Without the torment of the night's untruth.
Cease dreams, the images of day's desires,
To model forth the passions of the morrow;
Never let rising Sun approve you liars,
To add more grief to aggravate my sorrow.
Still let me sleep, embracing clouds in vain,
And never wake to feel the day's disdain.

DANIEL.

SLEEP, Silence' child, sweet father of soft rest,
Prince whose approach peace to all mortal brings,
Indifferent host to shepherds and to kings,
Sole comforter of minds with grief opprest;
Lo! by thy charming-rod all breathing things
Lie slumbering, with forgetfulness possest,
And yet o'er me to spread thy drowsy wings
Thou spares, alas! who cannot be thy guest.
Since I am thine, oh come, but with that face
To inward light which thou art wont to show;
With feignèd solace ease a true-felt woe;
Or if, deaf god, thou do deny that grace,
Come as thou wilt, and that thou wilt bequeath,--
I long to kiss the image of my death.

DRUMMOND.

A FLOCK of sheep that leisurely pass by,
One after one; the sound of rain, and bees
Murmuring; the fall of rivers, winds, and seas,
Smooth fields, white sheets of water, and pure sky;--
I have thought of all by turns, and yet do lie
Sleepless; and soon the small birds' melodies
Must hear, first uttered from my orchard trees;
And the first cuckoo's melancholy cry.
Even thus last night, and two nights more, I lay,
And could not win thee, Sleep! by any stealth:
So do not let me wear to-night away:
Without Thee what is all the morning's wealth?
Come, blessèd barrier between day and day,
Dear mother of fresh thoughts and joyous health!

WORDSWORTH.

O SOFT embalmer of the still midnight!
Shutting with careful fingers and benign,
Our gloom-pleased eyes, embowered from the light,
Enshaded in forgetfulness divine;
O soothest Sleep! if so it please thee, close,
In midst of this thine hymn, my willing eyes,
Or wait the amen, ere thy poppy throws
Around my bed its lulling charities;
Then save me, or the passèd day will shine
Upon my pillow, breeding many woes;
Save me from curious conscience, that still lords
Its strength for darkness, burrowing like a mole;
Turn the key deftly in the oiled wards,
And seal the hushèd casket of my soul.

KEATS.

THE crackling embers on the hearth are dead;
The indoor note of industry is still;
The latch is fast; upon the window-sill
The small birds wait not for their daily bread;
The voiceless flowers--how quietly they shed
Their nightly odours; and the household ill
Murmurs continuous dulcet sounds that fill
The vacant expectation, and the dread
Of listening night. And haply now She sleeps;
For all the garrulous noises of the air
Are hushed in peace; the soft dew silent weeps,
Like hopeless lovers for a maid so fair:--
Oh! that I were the happy dream that creeps
To her soft heart, to find my image there.

HARTLEY COLERIDGE.

Side by side with these sonnets may be placed Thomas Warton's _Ode_--a
fine poem, too little known:--

ON this my pensive pillow, gentle Sleep,
Descend in all thy downy plumage drest,
Wipe with thy wings these eyes that wake to weep,
And place thy crown of poppies on my breast.
O steep my senses in Oblivion's balm,
And soothe my throbbing pulse with lenient hand,
This tempest of my boiling blood becalm--
Despair grows mild, Sleep, in thy mild command.

Yet ah! in vain, familiar with the gloom,
And sadly toiling through the tedious night,
I seek sweet slumber while that virgin bloom
For ever hovering haunts my unhappy sight.
Nor would the dawning day my sorrows charm:
Black midnight and the blaze of noon alike
To me appear, while with uplifted arm
Death stands prepared, but still delays, to strike.

T. WARTON.


_287_

AH! gentle, fleeting, wav'ring sprite,
Friend and associate of this clay!
To what unknown region borne
Wilt thou now wing thy distant flight?
No more with wonted humour gay,
But pallid, cheerless, and forlorn.

BYRON.

Byron's version is a weak piece of youthful work. I add here Pope's
_Dying Christian to his Soul_, a noble poem suggested by that of
Hadrian, and emphasizing powerfully the contrast between pagan and
Christian sentiment:--

VITAL spark of heavenly flame!
Quit, oh quit this mortal frame!
Trembling, hoping, lingering, flying,
Oh the pain, the bliss of dying!
Cease, fond nature, cease thy strife,
And let me languish into life!

Hark, they whisper; angels say,
'Sister spirit, come away! '
What is this absorbs me quite?
Steals my senses, shuts my sight,
Drowns my spirit, draws my breath?
Tell me, my soul, can this be death?

The world recedes; it disappears!
Heaven opens on my eyes! my ears
With sounds seraphic ring:
Lend, lend your wings! I mount! I fly!
O Grave, where is thy victory?
O Death, where is thy sting?

POPE.


_368_

HAPPY the man who his whole time doth bound
Within the enclosure of his little ground.
Happy the man whom the same humble place,
The hereditary cottage of his race,
From his first rising infancy has known,
And by degrees sees gently bending down
With natural propension to that earth
Which both preserved his life and gave him birth.
Him no false distant lights by Fortune set
Could ever into foolish wanderings get.
He never dangers either saw or feared;
The dreadful storms at sea he never heard,
He never heard the shrill allarms of war,
Or the worse noises of the lawyers' Bar.
No change of consuls marks to him the year;
The change of seasons is his calender.
The cold and heat Winter and Summer shows,
Autumn by fruits, and Spring by flowers he knows.
He measures time by landmarks, and has found
For the whole day the Dial of his ground.
A neighbouring wood born with himself he sees,
And loves his old contemporary trees.
He's only heard of near Verona's name,
And knows it, like the Indies, but by fame:
Does with a like concernment notice take
Of the Red Sea and of Benacus Lake.
Thus health and strength he to a third age enjoys,
And sees a long posterity of boys.
About the spacious world let others roam,
The Voyage Life is longest made at home.

COWLEY.

I append the version of a poet who was accounted in his time 'the best
translator since Pope'.

BLEST who, content with what the country yields,
Lives in his own hereditary fields;
Who can with pleasure his past life behold,
Whose roof paternal saw him young and old;
And, as he tells his long adventures o'er,
A stick supports him where he crawled before;
Who ne'er was tempted from his farm to fly,
And drink new streams beneath a foreign sky:
No merchant, he, solicitous of gain,
Dreads not the storms that lash the sounding main:
Nor soldier, fears the summons to the war,
Nor the hoarse clamours of the noisy bar.
Unskilled in business, to the world unknown,
He ne'er beheld the next contiguous town.
Yet nobler objects to his view are given,
Fair flowery fields and star-embellished heaven.
He marks no change of consuls, but computes
Alternate consuls by alternate fruits;
Maturing autumns store of apples bring,
And flowerets are the luxury of spring.
His farm that catches first the sun's bright ray
Sees the last lustre of his beams decay:
The passing hours erected columns show,
And are his landmarks and his dials too.
Yon spreading oak a little twig he knew,
And the whole grove in his remembrance grew.
Verona's walls remote as India seem,
Benacus is th' Arabian Gulph to him.
Yet health three ages lengthens out his span,
And grandsons hail the vigorous old man.
Let others vainly sail from shore to shore--
Their joys are fewer and their labours more.

F. FAWKES.




NOTE UPON THE SATURNIAN METRE


This metre is illustrated by Nos. 1-4 (? ), 5-6, 8, 10, 12-13 in this
selection. Three views have been taken of its character.

1. It was at one time supposed to be purely quantitative. This view had
the support of Bentley, who in the _Phalaris_ (226-8) identified the
Saturnian with a metre of Archilochus. [11] 'There's no difference at
all', he says blithely. In more recent times the quantitative theory, in
one form or another, has numbered among its adherents scholars of
repute: e. g. Ritschl, Lucian Mueller, Christ, Havet. To-day it may be
said to be a dead superstition. Its place has been taken by what may be
called the 'semi-quantitative' theory.

2. The 'semi-quantitative' theory was popularized in this country by H.
Nettleship[12] and J. Wordsworth[13]. It enjoyed the vogue which
commonly attends a compromise; and it still has its adherents, as, for
example, E. V. Arnold[14] (who follows the Plautine scholar F. Leo). But
the more it is examined the more it tends, I think, to melt into a
'pure-accentual' theory. 'It allows the shortening of a long syllable
when unaccented (_dĕvictis_)', says Nettleship[15]. Surely to say that
_dĕvictis_ is 'allowed' for _dēvictis_ is to abandon the cause outright.
But it is considerations of a more general character which seem likely
to render untenable both the 'quantitative' and the 'semi-quantitative'
theories. The recent researches of Sievers[16] and others into the
earliest metrical forms tend to shew that this metre is an
'Indo-European' heritage, and that it must be judged in the light of its
Eastern and Germanic cognates.

3. The best opinion, therefore, in recent years has been strongly on the
side of the view which makes the principle of the Saturnian metre purely
accentual. At the moment this view may, in fact, be said to hold the
field. Unhappily those who agree in regarding the metre as purely
accentual agree in little else. We may distinguish two schools:

(a) There is, first, what I may perhaps be allowed to call the
Queen-and-Parlour school. 'There cannot be a more perfect Saturnian
line', says Macaulay, 'than one which is sung in every English nursery--

The queen was in her parlour eating bread and honey'.

Place beside this English line the Latin line which has come to be
regarded as the typical Saturnian--

dabunt malum Metelli Naeuio poetae.

If we accent these five words as Naevius and the Metelli would in
ordinary speech have accented them, we shall have to place our accents
thus:--

dábunt málum Metélli Naéuio poétae;

since by what is known as the Law of the Penultimate the accent in Latin
always falls on the penultimate syllable save in those words of three
(or more) syllables which have a short penultimate and take the accent
consequently on the ante-penultimate syllable. But those who accommodate
the Latin saturnian to the rhythm of 'The queen was in her parlour . . . '
have to postulate an anomalous accentuation:--

dabúnt malúm Metélli | Naéuió poétae.

The Saturnian line is, they hold, a verse falling into two cola, each
colon containing three accented (and an undefined number of unaccented)
syllables--word-accent and verse-accent (i. e. metrical _ictus_)
corresponding necessarily only at the last accented syllable in each
colon (as Metélli . . . poétae above).

Now here there are at least four serious difficulties:

1. While the principle of the verse is accentual half the words in any
given line may be accented as they were never accented anywhere else.

2.
Sometimes verse-accent and word-accent do not correspond even at the
last accent in a colon. There is, for example, no better authenticated
Saturnian than

Cornelius Lucius Scipio Barbatus:

and it is incredible that at any period in the history of the Latin
language the word-accent ever fell on the middle syllable of
_Lucius_[17].

3. The incidence of word-accent is left unfixed save so far as the
incidence of verse-accent enables us to fix it. But the incidence of the
verse-accent is itself hopelessly uncertain. In a very large percentage
of saturnian lines we abandon the natural word-accent and have at the
same time no possible means of determining upon what syllable of what
word we are to put the verse-accent.

dabúnt malúm Metélli Naéuió poétae

is simple enough: but when we come to

sin illos deserant fortissimos uiros
magnum stuprum populo fieri per gentes

or

dedet Tempestatibus aide meretod

we come, to speak frankly, to chaos.

4. A large number of well-attested saturnians yield only two accents in
the second _colon_.

(b) Beside the 'Queen-and-Parlour' theory there is what I may call the
Normal Accent Theory. It originated with two papers by W. M. Lindsay in
the _American Journal of Philology_ vol. xiv--papers which furnish a
more thorough and penetrating treatment of the whole subject than is to
be found anywhere else. Lindsay's view is in substance this:

1. The saturnian line falls into two _cola_ of which the first (_a_)
contains _three_, the second (_b_) _two_ accented syllables.

2. _a_ contains seven syllables in all, _b_ contains six (occasionally
five), save when ᵕᵕ takes the place of one accented syllable.

3. The accent is always the normal Latin accent, according to the Law of
the Penultimate.

(A tetrasyllabic word has two accents when it stands at the beginning of
a line, and a pentasyllabic word always. )

4. Each line begins with an accented syllable.

These are the essential rules. In addition Lindsay has been at pains to
determine carefully the accentuation of 'word-groups'. Each word in a
Latin sentence has not necessarily an accent of its own. Thus _apud uos_
is accented _apúd-uos_; so again _in-grémium_, _quei-númquam_, _ís
hic-sítus_. No part of Lindsay's papers throws so much light on the
scansion of the saturnian verses as that which deals with these
word-groups: but it is impossible here to deal with the subject in
detail. I will give here the first two Scipio Epitaphs (5. _i_, _ii_) as
they are scanned and accented by Lindsay:--

_i. _

Cornélius Lúcius | Scípio Barbátus,
Gnáiuod páter prognátus, | fórtis-uir sapiénsque,
quoìus fórma uirtútei | parísuma fúit,
cónsol, cénsor, aidílis | queí-fuit apúd-nos,
Tàurásia, Cisáuna, | Sámnio cépit,
Súbigit ómne Loucánam | ópsidesque abdóucit

_ii. _

Hónc óino plóirime | coséntiunt Római
dùonóro óptimo | fuíse uíro
Lúcium Scípiònem | fílios Barbáti
cónsol cénsor aidílis | híc-fuet apúd-nos:
híc cépit Córsica | Alériaque úrbe,
dédet Tèmpestátebus | áide méretod.

But is it certain, after all, that the accent-law in Saturnian verse
_is_ the Law of the Penultimate? There was, as is well known, a period
in the history of the Latin language when this Law did not obtain, but
all Latin words were alike accented on the first syllable. When this
period ended we cannot precisely determine. But, as Lindsay himself
points out, the influence of the old protosyllabic accentuation was not
quite dead even in the time of Plautus. [18] Now the saturnian verse
undoubtedly reaches back to a very remote antiquity: even of our extant
specimens some are very likely as old as the eighth century. It is
probable enough, therefore, that the accent-law known at any rate to the
first saturnian poets was the old protosyllabic law. And when we
remember the hieratic character of the earliest poetry, when we take
into account the conservatism of any priestly ritual or rule, may we not
suppose it possible that saturnian verse retained the ancient law of
accentuation long after the Law of the Penultimate had asserted itself
in ordinary speech and in other forms of literature? Accented, as
Lindsay accents it, according to the Law of the Penultimate, the
saturnian loses the lilt and swing which it has under the old
'Queen-and-Parlour' system.

dábunt málum Metélli Naéuio poétae

is not a music to pray to or dance to or die to. A much easier and more
lively movement would be

dábunt málum Mételli Naéuio póetae,

that is, the movement given by the old protosyllabic accentuation.

The suggestion that the protosyllabic accent survived as a conscious
archaism in saturnian verse right down to the time of the Scipios is, I
think, at any rate worth considering. It carries us into speculations
far wider than the particular problem with which it is immediately
concerned. For if the protosyllabic law did actually survive in this way
we can the more easily explain the swift and decisive victory which the
Hellenizing Latin poetry won over the old native verse. What was
conquered was an archaism, something purely artificial. The conquering
force was not merely Hellenism but Hellenism _plus_ a complete and
radical change in Latin speech.

If anyone cares to analyse the extant remains of saturnian verse in the
light of this suggestion, I would formulate three rules which can, I
think, be deduced:

1. Each line has five feet, and each foot contains one accented syllable
_plus_ either one or two unaccented syllables. [19] The first foot,
however, _may_ consist of a monosyllable.

2. The third foot must consist of a trisyllabic word or
'word-group'[20]: save that occasionally the second and third feet
together may be formed of a quadrisyllabic (or pentasyllabic) word with
secondary accent.

3. The first and second, and again the fourth and fifth, feet may be
either disyllabic or trisyllabic: but (_a_) two trisyllables may not
follow one another in the first two feet, and (_b_) if the fifth foot
(usually trisyllabic) is a disyllable the fourth must be trisyllabic.

The normal type is

─́─ ── │ ─́─ ── │ ─́─ ── ── ││ ─́─ ──    │ ─́─ ── ──
                         ││ ─́─ ── ──

A common variation in the first two feet is either
─́─ ── ── │ ─́─ ──, or ─́─ ── │ ─́─ ── ──. A somewhat rare variation
in the last two is ─́─ ── ── │ ─́─ ──. In the first foot ─́─ sometimes
replaces ─́─ ── (or ─́─ ── ──), no doubt owing to the greater stress
at the opening of the verse.

Some exceptions (or apparent exceptions) to these rules will no doubt be
found. But the rules cover most of the extant examples of saturnian
verse: and it must be remembered that the text of our fragments is often
not at all certain. The system outlined has, however, the merit--which
it shares with Lindsay--that it dispenses with most of the alterations
of the text in which other systems involve us.


THE HYMN OF THE ARVAL BROTHERHOOD.

I have given the text of this celebrated piece according to what may be
called the Vulgate; and in the sub-title, in the Glossary and in my
Introduction p. 1 I have followed the ordinary interpretation. I may
perhaps be allowed here to suggest a different view of the poem.

It begins with an appeal to the Lares. These are apparently the Lares
Consitivi, gods of sowing. Then comes an appeal to Marmar, then to Mars.
Then the Semones are invoked, who, like the Lares, are gods of sowing.
There follows a final appeal to Marmar.

It is pretty clear that the Mars, Marmar, or Marmor, invoked in such
iteration is not the war-god, but Mars in his more ancient character of
a god of agriculture. But if this be so, what are we to make of lines
7-9,

satur fu, fere Mars: limen sali: sta berber,

'Be thou glutted, fierce Mars, leap the threshold, stay thy
scourge',--or, as Buecheler takes it, 'stand, wild god'? This sort of
language is appropriate enough to Mars as god of war, but utterly
inappropriate to the farmer's god[21].

Now it so happens that for

satur fu, fere Mars: limen sali, sta berber

the monumental stone to which we owe this inscription offers at one
point

satur fu, fere Mars limen saii sia berber.

Now, when we remember the Lares Consitivi and the Semones, does it not
look very much as though _satur_ stood for _sator_, as though _fere_
were a blunder for _sere_, as though _saii_ were the vocative of Saius,
'sower' (cf. Seia a goddess of sowing, and Greek σάω σήθω), as though
_sia_ were the imperative of the verb _sio_ (moisten)[22], and as
though, finally, _berber_ were to be connected with the Greek βόρβορυς
and meant 'loam'? (I would give much the same sense, 'fat soil' to
_limen_: (from the root _lib-_: cf. Gk. λείβω λειμών). )

We get, then,

sator fu: sere Mars limen Saii, sia berber,

'Be thou the sower: sower Mars, sow the soil, moisten the loam'. And
this suggests what _ought_ to be the meaning of _enos iuuate_. _enos_
_ought_ to mean _harvests_, or at any rate something in that kind. And
why should it not? Hesychius knew a word ἔνος which he glosses by
ἐνιαυτός, ἐπέτειος καρπός. See Suidas _s. v. _ and Herwerden _Lexicon
Suppletorium_.

The Hymn is a hymn for Seedtime. We know, however, that the festival at
which it was sung fell in the month of May. The explanation of this has
been hinted at by Henzen. [23] Henzen points out that the Arval Brothers
entered on their duties at the Saturnalia, and that their worship is
probably connected in its origin with Saturn, the god of sowing. (See
Varro _L. L. _ 5, 57, and _apud_ Aug. _C. D. _ 7. 13 p. 290, 28, Festus
_s. v. _ Saturnus. ) We must suppose, therefore, that at some date when the
meaning of its words had been already lost this hymn was transferred
from a seedtime festival to a harvest festival.




GLOSSARY OF OLD LATIN

1.

_i. _

cante: _cante_ (sometimes said to be an Athematic imper.
2 pers. plur. ).

_ii. _

quome: _cum_.
Leucesie: (_Lucerie_? ) a title of Jupiter as god of lightning.
tet: _te_.
tremonti: _tremunt_.
quor: _cur_.
Curis: 'god of spear-men' (? ): Etruscan _curis_, a spear:
(cf. _Iunonis Curitis_).
decstumum: _dextimum_, 'on the right' (the suffix _-imus_ is not
strictly a superlative suffix, but denotes position: cf. _summus_
(_sup-mus_), _finitimus_, _citimus_).

_iii. _

ulod: _illo_ (? ) (_ollod_) (cf. Umbrian _ulu_).
oriese: _oriere_: future for imperative as in 2 _aduocapit_.
isse: _ipse_ (_ipese_): the form _isse_ is merely
the vulgar spelling of a later period.
ueuet: _uiuit_.
po melios: _optimus_ (? ) ('_po_ pro _potissimum_ positum est in
Saliari carmine', _Festus_).
eu: _heu_ (admirantis).
recum: _regum_ (as _uirco_ for _uirgo_ in the _Duenos Inscription_:
and so always in early Latin until 312 B. C. ).


2.

enos: _nos_ (? ) cf. ἐμέ, ἐμοί.
Lases: _Lares_.
lue rue: _luem et ruinam_.
Marmar: _Mars_.
sins: _sinas_ (? ).
sers: _siueris_ (? ).
pleoris: _pluris_ (cf. πλε(ί)ων = πλεονς = pleios = pleor).
fu: _esto_ (_fufere_ = _esto_, others: as though _fufuere_).
sta berber, 'stay thy scourge' (? ): sta = ἵστα; berber: _uerbera_.
Others interpret, 'stand, fierce one' (berber = _barbare_).
semunis: _semones_, 'gods of the sown fields'.
aduocapit: _aduocabitis_.


5.

_i. _

Gnaiuod: _Gnaeo_: the old abl. in -d: cf. _meretod_ in _ii_.
parisuma: superlative of _par_.
Taurasia Cisauna Samnio: _Taurasiam Cisaunam (in) Samnio_
(or _Samnium_). The dropping of _-m_ (cf. _oino_, _aede_ in _ii_) is,
however, not in any way a peculiarity of early Latin.
subigit: _subegit_.
abdoucsit: _abduxit_.

_ii. _

oino: _unum_.
ploirime: _plurimi_.
duonoro . . uiro: _bonorum . . uirum_.
Scipione: _Scipionem_.
Corsica Aleriaque urbe: _Corsicam Aleriamque urbem_.
aide: _aedem_.
meretod: _merito_.

_iii. _

apice insigne: _apicem insignem_.
recipit: _recepit_ (as _subigit_ in _i_).

_iv. _

quei minus: _cur minus_.
mactus: 'blessed', 'honoured', 'endowed'.


6.

_i. _

insece: _inseque_, imperat. from _inquam_ (_in(s)quam_): ἔννεπε.

_iv. _

dacrimas: _lacrimas_.
noegeo: 'noegeum amiculi genus', _Festus_: φᾶρος.

_v. _

hemōnem: _hominem_ (cf. _ne-hemo_ = _nemo_) 'son of earth'
(_humus_: cf. Oscan _humuns_ = _homines_).
quamde: _quam_.
topper: _celeriter_: _(is)tod_ + _per_: the old explanation,
_toto opere_, is false.

_vi. _

inserinuntur: _inseruntur_. So in the active we find the 3 pl. pres.
in _-nunt_: _danunt_ (_dant_) _prodinunt_ (_prodeunt_) _nequinunt_
(_nequeunt_). But the forms are unexplained anomalies.

_vii. _

deuenies: _deueniens_ (?