No More Learning

The birds were now singing, and the sun hastened from
the east,
To open with a purple smile the day.
25.
The shepherd guides his flocks ; he now takes in his arms
the tender lambs,
And gives them, while cherished in his bosom, the sweetest
herbs;
He now seeks for the sheep that are lost, and brings back
the wandering.
26.
The third morning had from the heavens removed the
cold shades of night [ellip. ),
When they sorrowfully collected together (ruebant) on the
hearths the high raised (altus) ashes and
The bones intermingled with each other, and placed over
them a warm mount of earth,
27.
Begone, ye sleepless cares; begone, complaints,
And the host of envy with her "jealous leer malign"
[transverso tortilis kirquo);
Nor thou, O cruel calumny, bring hither thy envenomed
scoffs {anguiferos rictus).
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? 132 EXERCISES IN
28.
Thus (talis) the Parthian lord leads from the Tigris
His barbarian troops, and proudly adorns his head
With regal chaplets, gems, and rich attire.
29.
For now Eurus collects his strength from the purple east;
Now Zephyr approaches hasting from the west (sero
vespere missus).
Now cold Boreas rages (jbacchatur) from the dry north
(Arcto);
Now the south wind joins the contest with an opposing
front.
30.
Androcles, who had fled as an exile from the anger of
his master,
Wandered over the parched sands of Libya.
At length when wearied and exhausted by his journey
(labore viarum),
A secret cave presented itself to him at the side of a
rock.
31.
He enters the cave; and scarcely had he committed his
wearied limbs to sleep,
When suddenly an immense lion roars in the cavern.
It lifted up its wounded foot, and uttering a mournful
cry,
It implored, as well as it was able to implore, the
assistance of Androcles.
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? VERSIFICATION. 133
32.
The fugitive slave, struck with the novelty of the circum-
stance, and hesitating with fear,
Scarcely at length moves his trembling hands to the
assistance of the lion (ellip. );
But after having examined the thorn, (for a thorn stuck in
the wound)
He carefully and tenderly draws it out of the lion's
foot.
33.
Now again he roams through the sylvan shades, and the
groves; and, like an attentive host,
Brings to the cave for Androcles constant food.
The man, as the lion's guest, sits down to the feasts pre-
pared for him (ellip. ),
And hesitates not to partake of the undressed pro-
visions.
34.
But who could bear to live thus solitarily in a cheerless
desert (tcedia deserta vitce)?
Scarcely could the rage of a revengeful master be more
terrible.
The slave at length resolves to expose his devoted head to
certain dangers,
And again to seek his paternal abode.
35.
Here he is given up by his master, and, doomed to afford
a cruel entertainment to the people,
He stands in the theatre as a wretched criminal.
Lat. Pr. M
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? 13*
EXERCISES IN
By chance the same lion that he had assisted in the desert
(ellip. ), fierce and raging with hunger, rushes
from the dens,
And looks with an astonished countenance on his physi-
cian.
36.
He looks at him, and, as an old friend recognizing his
former guest,
He lies down at his well known feet caressing him
(blandulus).
This prodigy (ellip. ) was the work of nature alone: she
alone, who gave to the lion all his rage,
She alone induced him to repress it.
37.
The dove, that has been wounded by thy talons, O-hawk,
Is alarmed at the least rustling of a wing.
The lamb, that has been at any time rescued from the
jaws of a rapacious wolf,
Never dares again to wander from the fold.
38.
Happy is the man, who has spent his days in his paternal
fields.
Whom the same roof shelters (videt) when an old man,
that sheltered him when a boy;
Who leaning on his staff on the same sand, on which he
once crept as a child (ellip. ),
Relates the long history (sacula) of his single habi-
tation.
39.
Fortune has not led him through the innumerable vicissi-
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? VERSIFICATION.
135
tudes of life (vario tumultu):
He has neither as a traveller (periph. ) tasted of foreign
waters;
Nor as a merchant has he feared the seas, nor as a soldier
the trumpet's sound;
Neither has he undergone the contentions of jarring
, courts of law.
40.
The lofty oak he (qui) remembers when it hung as an
acorn (ellip. ) on a little branch,
And he sees the grove of the same age with himself, with
himself grow old.
But yet unbroken is his strength, and the third generation
sees him
A grandsire still robust with vigorous limbs.
41.
For the men add to the noise (sonant) by their clamor,
the ropes by their rattling,
The heavy waters by the dashing of the waves against
each other (undarum incursu), and the sky by peai^s
of thunder.
The sea ascends in mighty waves, and seems to reach the
heavens,
And sprinkles the contiguous clouds with briny dew.
42.
May I never so misapply the powers of my mind,
As to become the flatterer of kings and the promoter
of vice: ?
Nor may I spend the short space, that I can steal from
the grave, <<
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? 136 EXERCISES IN
In fawning and cringing (caudam sabmittatn) like a
fearful dog.
43.
There is near the Cimmerians {Cimmerios) a cave in a long
recess,
Formed of a hollow, mountain, the palace and retired
abode of lazy Sleep;
Into this cave the sun, whether rising, or on the meridian
(mediusve), or setting,
Is never able to penetrate with his rays. Fogs, mixed
with darkness,
Are exhaled from the ground, and a glimmering (crepus-
cula) of dubious light.
44.
Again, to show what virtue, and what wisdom can ac-
complish,
Homer (ellip. ) has exhibited Ulysses to our view as an
instructive example,
Who, having subdued Troy, viewed with an observant
eye the cities ?
And manners of many nations, and
While seeking for himself and his associates the means of
returning over the wide ocean to their own land
[ellip. ),
Endured many hardships, yet could never be overwhelmed
by the waves of adversity.
45.
See lofty Lebanon his head advance!
See nodding forests on the mountain dance S
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? VERSIFICATION. 137
46.
Ah me! the blooming pride of May (Mali),
And that of beauty are but one:
At noon both florish bright and gay;
At evening fade, are pale and gone.
47.
When winds approach, the vex'd sea heaves around;
From the bleak mountain comes a hollow sound;
The loud blast whistles o'er the echoing shore;
Rustle the murmuring woods, the rising billows roar.
48. ?
? So the sweet lark, high poised in air,
Shuts close his pinions to his breast,
If chance his mate's shrill note he hear,
And drops at once into her nest.
49.
Nations behold, remote from reason's beams (ellip. ),
Where Indian Ganges rolls his sandy streams,
Of life impatient, rush into the fire,
And willing victims to their gods expire,
Persuaded (percussa cupidine cercd) the freed soul to
regions flies (sedes ubifata dedere quietas),
Blest with eternal spring and cloudless skies.
50.
Subdued at length, he owns Time's heavier tread,
Bowed with the weight of ages on his head:
So on some mountain's top the lofty pine,
With years and tempests worn, in slow decline
Droops to the chilling rains, the stormy gales,
While wasting age its trembling boughs assails.
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? APPENDIX.
LYRIC AND DRAMATIC MEASURES.
CHAPTER I. --Feet.
The dactyl and the spondee were the feet in the most
general use among the Latin poets, and the measures, in
which these feet were most commonly arranged, were the
hexameter and pentameter; but in their lyric and dra-
matic compositions, several other kinds of feet were often
introduced, as well as a great variety of measures.
Besides the dactyl and the spondee, the following feet
are admitted into Latin poetry;
A pyrrhic, or two short syllables, as Plaga.
An iambus, one short and one long, Legunt.
A trochee or choree, one long and one short, Magnus.
An anapest, two short and one long, Capiunt.
A tribrac, three short, Facere.
A molossus, three long, Contendunt.
An amphibrac, one long between two short, Remotus.
A cretic or amphimacer, one short between two long,
Castitas.
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? APPENDIX. 139
A bacchic, one short and two long, Legebant.
An antibacchic, two long and one short, SolamSn.
Two of the preceding simple feet are often connected,
and form the following compound feet;
A dispondee, or two spondees, as Clrcumspectiint.
A proceleusmatic, two pyrrhics, Hominibus.
A diiambus, two iambi, Serenitas.
A dichoree, two chorees or trochees, Comprobavit.
A choriambus, a trochee and an iambus, Sanguine! .
An antispast, an iambus and a trochee, Reformidat.
A great ionic, a spondee and a pyrrhic, SucciimbSre.
A small ionic, a pyrrhic and a spondee, Radiantes.
First epitrit, an iambus and a spondee, Voluptates.
Second epitrit, a trochee and a spondee, Concitarl.
Third epitrit, a spondee and an iambus, Mutabiles.
Fourth epitrit, a spondee and a trochee, Debellare.
First paeon, a trochee and a pyrrhic, Temporibus.
Second paeon, an iambus and a pyrrhic, Potentia.
Third paeon, a pyrrhic and a trochee, Rubicundus.
Fourth p "on, a pyrrhic and an iambus, Celeritas.
A dochimus, an iambic and a cretic, Deerraverant.
In the following exercises the pupil is required to men-
tion the name oj the feet, into which each verse is divided.
EXERCISES.
1.
Inte|ger vl|ta3, scele|rlsque | puriis,
Non e|get Mau|ri jacu|lis, ne|que arcu.
2.
Pater|na ru|ra bo|bus ex|ercet | suis,
Solu|tus 6m|nl fce|nore.
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? HO APPENDIX.
3.
1111 I robur et jes | triplex
Circa | pectus erat, | qui fragilem | truci
Commi|sit pelago | ratem
Primus, | nec timuit | pracipitem A|fricum.
4.
Quid latet, iit | marina:
Filium dl|cunt Thctidis | sub lachrym6|sa Troja;
Funera, ne | virilis
Cultus in cae|dem et Lycias | proriperet | catervas?
5.
Qui sere|re ingenu|iim volet | agrum,
Liberat | arva pri|us fruti|cibus.
Domina|re tumT|dus; spi|ritus | altos [ gere;
SequYtur | super|bos iil|tor a | tergo | DSus.
6.
Neque pugno, | neque segni | pede victus,
Simul unctos | Tiberinis | humeros la|vit in undis
Has cum gemilna compede | dedicat ca|tenas
Saturne, ti|bi Zo'ilus ] annulos pri|ores.
CHAPTER II--Metres.
The metres employed in Latin poetry are the dactylic,
the anapestic, the iambic, the trochaic, the choriambic,
and the ionic measures.
The preceding measures have received their names from the
frequent occurrence in them of some particular foot; they are,
however, often called after the name of some celebrated poet,
who-excelled in a peculiar species of verse, and they have some-
times been classed according to the number of feet, which they
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? APPENDIX. 1*1
contain; as octonarius, a verse of eight feet; senarius, a line of
seven feet; hexameter, six feet; pentameter, five feet; tetra-
meter, four feet; trimeter, three feet; dimeter, two feet; mono-
meter, one foot.
A verse, which has a redundant syllable or foot, is
termed a hypermeter or hypercatalectic line; a verse
wanting a syllable at the beginning is called acephalous;
a line that wants one syllable at the end to complete the
measure, catalectic; a verse wanting two at the end,
brachycatalectic; and a line containing its exact number
of feet and syllables is denominated acatalectic.
DACTYLIC MEASURES.
1. The principal dactylic measure is the hexameter.
2. The hexameter meiurus is a defective hexameter,
and has an iambus in the sixth foot instead of a spondee;
as
DirTge o|doris S|quos ad | certa cu|bilia | canes.
Liv. Andron.
3. The priapean is also a species of hexameter; but it
has generally a trochee in the first foot, and sometimes an
amphimacer in the third; as
O co|lonia [ qua e ciipts | ponte | ludSre | longo.
Catull.
A regular hexameter verse is termed priapean, and is consequently
considered inelegant, when it is so constructed, as to admit of
being divided into two portions of three feet each; as
Tenia | pars pa|trl data | pars data | tenia | patrl. Catull.
4. The regular pentameter is also a dactylic measure.
5. The . /3? olic pentameter consists of four dactyls, pre-
ceded by a spondee, a trochee, or an iambus; as ?
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? 1*2 APPENDIX.
Edi'|dit tuba | terribi|lem soni|tum procul.
Terentian.
6. The Phalaecian or Phaleucian verse consists of the
penthemimer of a hexameter, followed by a dactyl and a
spondee; as
Vise|bat geli|dae | sldera | brumae. Boeth.
A trochee is sometimes found in the first foot of this
measure, and Boethius has admitted an iambus in the first
and second feet; as
Hic e^nim cau|sas | cernere | promptum est.
Illic | laten|tes | pectora | turbant.
Stupet | cum subi|tis | mobile | vulgiis. Boeth.
7. The tetrameter a priore, or the Alcmanian dactylic
tetrameter, consists of the three first feet of a hexameter,
followed by a dactyl; as
Desuper | In ter|ram nox | fiinditur. Boeth.
8. The tetrameter a posteriore, or spondaic tetrameter,
consists of the four last feet of a heroic verse; as
Sic tris|tes af|fatus a|micos. Horat.
9. The tetrameter meiurus or Faliscan consists of the
last four feet of the hexameter meiurus; as
Fake ru|bos filT|cemque rg|secat. Boeth.
1. 0. The tetrameter acephalous is the tetrameter a pos-
teriore wanting the first semifoot; as
Qui | se volet | esse po|tentem,
ani|mo3 domet [ ille fe|roces. Boeth.
11. The tetrameter catalectic is the tetrameter a priore
wanting the last semifoot; as
Nostra de|us canet j harmont|a. Prudent.
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? APPENDIX. 14$
12. The dactylic trimeter consists of the three last feet
of a hexameter; as
Grato | Pyrrha sub | antro. Horat.
13. The trimeter catalectic, or Archilochian penthemi-
mer, is a heroic penthemimeris, or the first five half feet
of a hexameter; but the two first feet are most commonly
dactyls; as
Pulvis et | umbra sii|mus. Horat.
14. The dactylic dimeter, or Adonic, consists of two
feet, a dactyl and a spondee; as
Rlslt a|p6115. v Horat.
ANJPESTIC MEASURES.
15. The anapestic measure consists of two anapests;
as
Ululas se canes. Seneca.
, The first foot in this measure was frequently changed to
a dactyl or a spondee, and the second foot often to a spon-
dce, and in a few instances to a dactyl; as ?
Fundite | fletus,
Edite ] planctus.
FIngite | hictus.
RSsonet | tristl
Clamo|re forum. Seneca.
The anapestic dimeter consists of two anapestic mea-
sures; as
Pharetrae|que graves||date sje|va fero.
Quanti | casus||huma|na rotant! Seneca.
16. The anapestic dimeter catalectic consists of three
feet, of which the first and second are anapests or spon-
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? 144 APPENDIX.
dees, and the third an anapest, followed by a long sylla-
ble; as
Utfnam | modo nos|tra redi|rent
In mo|res tem|pora prls|c6s. Boeth.
IAMBIC MEASURES.
17. The iambic trimeter or senarius consists of three
iambic measures or six iambic feet; as
Suis | et Ip|sa R6|ma vi|ribus [ ruit. Horat.
The pure iambic measure was seldom used by the
Latin poets. To give to this metre greater slowness and
dignity, they introduced spondees into the first, third, and
fifth feet; and in every foot except the last, which was
always an iambic, a long syllable was often changed into
two short syllables, so that an anapest or a dactyl was
often used for a spondee, and a tribrac for an iambus; as
Quo quo | sceles|ti rui|tls aut j cur dex|terls.
Aliti|bus at|que cani|bus homi|cida Hec|torem.
Horat.
The writers of comedy, satire, and fables, admitted
the spondee, or a foot equal to it, into the second and
fourth feet, as well as the first, third, and fifth; as
Tuo | pala|to clau|sus pa|vo pas|citur. Petron.
Amit|tlt mSri|to propri|um qui ali|enum apjpetit.
Pares | diimnon | slntves|tnc for|titu|dini. Phaedrus.
18. The scazon, or choliambus, or lame iambic, is the
iambic trimeter with a spondee in the sixth foot, and
generally an iambus in the fifth; as
Cur In | thea|trum Cato | seve|re ve|nlstl?
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? APPENDIX. 145
An ide|o tan|tum ve|neras | lit ex|ires? Mart.
19. The iambic tetrameter, or octonarius, or quadra tus,
a measure used by the comic poets, consists of four iambic
measures or eight iambic feet, subject to the same varia-
tions as the iambic trimeter; as
Nunc hic | dies | aliam | vitam af|fert, ali|6s mo|res
p6s|tulat. Terent.
20. The iambic tetrameter catalectic, or Hipponactic, is
the iambic tetrameter, deprived of its last syllable, and al-
ways having an iambus in the seventh foot; as
Depren|sa na|vis In | marl [ vesa|nien|te ven|to. Catull.
21. The iambic trimeter catalectic, or Archilochian,is the
iambic trimeter with an iambus in the fifth foot, and
wanting the final syllable in the sixth foot; as
Voca|tus at|que non | v6ca|tiis au|dit.
Trahunt|que sic|cas ma|chinje | cari|nas. Horat.
22. The iambic dimeter consists of two iambic measures
or four iambic feet, but it admits the same variations as
the iambic trimeter; as
Forti | seque|miir pec|tore.
Canidi|a tract|avit | dapes.
Vide|re prope|rantes | domum. Horat.
2 3. The iambic dimeter hypermeter is the iambic dimeter,
with the third foot generally a spondee, and having an odd
syllable after the fourth foot; as
Vena|tor in | campis | niva|lis. Horat.
24. The iambic dimeter acephalous is the iambic dime-
ter, having most commonly an iambus in every foot, and
always wanting the firsj: syllable; as
Tru|ditiir | dies [ die. Horat.
Lat. Pr. N
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? 1*6 APPENDIX.
25. The iambic dimeter catalectic, or Anacreontic, is the
dimeter iambic, wanting the final syllable, and having an
iambus in the third foot; as
Lex halc | data est | cadu|cis,
Deo | jiiben|te, mem|bris,
Ut tem|peret | labo|rert . .
Medica|bills | volup|tas. Prudentius.
26. The Galliambus consists of two catalectic dimeters,
having in general a spondee or an anapest in the first
foot of the first dimeter, and a tribrac in the second foot
of the second dimeter, the final syllable of the second
dimeter being omitted; as,
Super al|ta vec|tus a|tys||celgri J rate ma|ria. Catull.
TROCHAIC MEASURES.
27. The most common trochaic metre is the tetrameter or
octonarius catalectic, and it consists of seven feet followed
by an odd syllable, the last foot being always a trochee,
while most of the other feet are. liable to the same varia-
tions as the feet in iambic measures; as
Pulchri|us mul[to pa|rarl | quam cre|ari | nobi|lem.
Auson.
Danai|des co|Ite | vestras J hic di|es quje|rit malnus.
Seneca.
28. The Sapphic verse, invented by the poetess Sappho,
consists of five feet, the first a trochee, the second a spon-
dee and sometimes a trochee, the third a dactyl, and the
fourth and fifth trochees; as
Caet^|ris ma|jor tibi | milSs | impar. Horat.
The strophe or stanza, in which Sappho composed her verses,
consists of ihree sapphic verses followed by an adonic; its
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? APPENDIX. 1*7
elegance and sweetness made it popular among the Latin poets,
and caused it to be often introduced into their elegiac verses.