Let the student, in reading the poems of Virgil, be taught to
pay strict attention to the melodious numbers by which they
are adorned--let him mark the beautiful effect produced by
the frequent changing of the Csesural pause, and learn to con-
trast these changes with each other, and to note their respec-
tive degrees of harmony--let him, in perusing the lyric com-
positions of Horace, be made fully acquainted with the various
measures, which lend to them so powerful a charm, and the
peculiar sweetness and melody by which so many of these are
characterized--and when he shall have done this, he will have
made no mean progress in his acquaintance with the beauties
of ancient poetry; but let him not waste his strength on such
an exercise as versification, which is in so great a degree purely
mechanical, and the most successful competitor in which, seems
after all, entitled to no higher praise than that of having shown
the greatest skill in arranging the " disjecta membra" of the
poets of antiquity.
pay strict attention to the melodious numbers by which they
are adorned--let him mark the beautiful effect produced by
the frequent changing of the Csesural pause, and learn to con-
trast these changes with each other, and to note their respec-
tive degrees of harmony--let him, in perusing the lyric com-
positions of Horace, be made fully acquainted with the various
measures, which lend to them so powerful a charm, and the
peculiar sweetness and melody by which so many of these are
characterized--and when he shall have done this, he will have
made no mean progress in his acquaintance with the beauties
of ancient poetry; but let him not waste his strength on such
an exercise as versification, which is in so great a degree purely
mechanical, and the most successful competitor in which, seems
after all, entitled to no higher praise than that of having shown
the greatest skill in arranging the " disjecta membra" of the
poets of antiquity.
Latin - Elements of Latin Prosody and Metre Compiled with Selections
Elements of Latin prosody and metre, compiled from the best authorities; together with a synopsis of poetic licenses occurring in the versification of Virgil, a metrical index to the lyric compositions of Horace, and
the scanning of the mixed trimeter and dimeter iambics of the latter poet. By Charles Anthon.
Anthon, Charles, 1797-1867.
New York, Printed and sold by T. and J. Swords, 1824.
http://hdl. handle. net/2027/njp. 32101064224445
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? Princeton University Library
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? --. "3 *w ~*'r> S Si > *
J:
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? or
LATIN PROSODY AND METRE,
COMPILED
FROM THE BEST AUTHORITIES J
TOGETHER WITH
A SYNOPSIS OF POETIC LICENSES
occcnniNQ IS THE versification or TIBGII,
A METRICAL INDEX
TO THE LYBIC COMPOSITION'S OF HORACE,
AND THE
SC^JVJVTJVG
<(C)F THE MIXED TIUMETER AND DIMETER IAMBICS
OF THE LATTER POET.
BY CHARLES ANTHON,
ADJDNCT PBOFESSOR 07 LANGUAGES 1ST COLUMBIA COLLEGE, MEW-YOBK,
? Levia quidem haee, et parvi forte, si per se spectentur, raomenti; sed ex elementis
constant, ex principiis oriuntur omnia, et ex judicii consuetudine in rebus minutU
adbihita, pendet ssepissime etiam in maximis vera atque accurata scientia"
Clarke, Praf. ad 11.
NEW-YORK;
PRINTED AND SOLD BY T. AND J. SWORDS,
No. 99 Pearl-street.
1824.
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? Southern District of JVew-Tork, js.
TIE it remembered, that on the third day of June, hi the
forty-eighth year of the Independence of the United States
of America, T. (i J. Swords, of the said District, have depo-
sited in this Office the title of a book, the right whereof they
claim as proprietors, in the words following, to wit: " Elements
>>f Latin Prosody and Metre, compiled from the best Authorities; to-
gether with a Synopsis of Poetic Licenses occurring in the Versification
of Virgil, a Metrical Index to the Lyric Compositions of Horace, and
the Scanning of the mixed Trimeter and Dimeter Iambics of the latter
Poet. By Charles Anthon, Adjunct Professor of Languages in Co-
lumbia College, New-York. --' Levia quidem hsec, et parvi forte, si per se
spectentur, momenti; sed ex eleraentis constant, ex principiis oriuntur om-
nia, et ex judicii consuetudine in rebus minutis adhibita, pendet saepissime
etiam in maximis vera atque accurata scientia. ' Clarke, Prtef ad H. "
In conformitv to the Act of Congress of the United States, entitled "An
Act for the Encouragement of Learning, by securing the Copies of Maps,
Charts, and Books, to the Authors and Proprietors of such Copies, during
the time therein mentioned. And also to an Act, entitled " An Act,
supplementary to an Act, entitled An Act for the Encouragement of
Learning, by securing the Copies of Maps, Charts, and Books, to the
Authors and Proprietors of such Copies, during the times therein men-
tioned, and extending the Benefits thereof to the Arts of Designing, En-
graving, and Etching Historical and other Prints. "
JAMES DILL,
Clerk of the Soutliern District of New-York.
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? TO
PETER WILSON, LL. D.
S3U5MTUS PHOTESSOB OF IANODAQES IH COLUMBIA COLtSS^
HEW-XOBK,
THIS WORK
>>tNients*]),
AS A TESTIMONIAL 07 RESPECT
FOB SCHOLARSHIP
AND WORTH,
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? PREFACE.
It was originally intended by the compiler of the present
work, to publish merely an improved edition of the Latin
Prosody of Alvarez. Upon reflection, however, this plan was
abandoned, as being liable to many serious objections; and
the one which has been followed in the present instance, was
adopted in its stead. The utility of Latin rules indeed, as a
medium of instruction, seems very questionable in any case,
and it may reasonably be doubted, whether the very few ad-
vantages likely to result from them, can in any degree com-
pensate for the numerous evils with which they appear to be
inseparably connected. On this point, however, each in-
structor will of course be guided by his own judgment and
experience; and as it is not presumed to dictate to those who.
may be better qualified to decide on this subject, the work has
been so arranged as to suit the purposes of instruction in
either event. The metrical rules of Alvarez, occasionally al-
tered, wherever such alteration seeraed necessary, are first
given, and the principles concisely stated in them are next
presented more in detail, and in an English garb. This plan
will, it is conceived, be liable to the fewest objections.
It being the object of the present work, to initiate the young
prosodian into a more extensive acquaintance with the prin-
ciples of Latin prosody and metre, than the smaller compentte
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? PREFACE.
hitherto published in this country admit of, no pains have been
spared towards the accomplishment of so desirable an end.
And as on such a subject as the present, not only the general
features, but eren the minor details of which, have been so
frequently discussed, but little originality can be expected, it
seemed the most adviseable course to collect together from the
Best treatises, whatever appeared worthy of the student's at-
tention, and promised to be beneficial to him. The work
which has been principally followed for this purpose, and of
which the present performance may in some respects be con-
sidered as an abridgment, is the Latin Prosody of Dr. Carey,
which is justly esteemed one of the ablest productions in this
department of instruction. The valuable grammar of Grant
has also furnished copious materials, as well as the Port-Royal
Latin Grammar and Gesner's Thesaurus. With these and
other sources from which to select, it would have been a very
easy task to have extended the work far beyond its present li-
mits; but it may be doubted whether its increase in size would
have been accompanied with a proportionate increase of bene-
fit to those for whose use it is intended. Under the head of
metre in particular, the work might have been considerably
enlarged by the addition of numerous rules for the composition
of Latin verse; but besides that it is by far the safest course in
such cases, to refer the student at once to the fountain head
whence this information is to be derived, the works namely of
the ancient poets themselves, it may likewise be allowed us
even to entertain some degree of doubt with regard to the
utility of this branch of academical labour. The course of
education in this country is so very rapid, as to afford the stu-
dent but little leisure for holding converse with the deities of
Helicon in the musical dialects of former times--nor is the
privation to be lamented by him. The practice of Latin and
Greek versification, though viewed by many as a highly orna-
mental and enviable feature in the schools of England, is ev<<fc
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? PREFACE.
there far from producing such advantages, as can compensate
for the time which is spent upon it. It may have indeed a
direct tendency to invigorate the imagination and to improve
the taste; " but still," to use the words of an able scholar of
that same country, u if we consider that the principal ad-
vantages resulting from this practice are attainable by other
means, and if we reflect how few there are who aTe by nature
qualified to become poets, and how rarely occasion presents
itself for exhibiting a skill in the composition of Latin or
Greek poetry, we cannot help regarding the art of versification
in its most classic style, as comparatively of secondary im-
portance. "*
. Let the student, in reading the poems of Virgil, be taught to
pay strict attention to the melodious numbers by which they
are adorned--let him mark the beautiful effect produced by
the frequent changing of the Csesural pause, and learn to con-
trast these changes with each other, and to note their respec-
tive degrees of harmony--let him, in perusing the lyric com-
positions of Horace, be made fully acquainted with the various
measures, which lend to them so powerful a charm, and the
peculiar sweetness and melody by which so many of these are
characterized--and when he shall have done this, he will have
made no mean progress in his acquaintance with the beauties
of ancient poetry; but let him not waste his strength on such
an exercise as versification, which is in so great a degree purely
mechanical, and the most successful competitor in which, seems
after all, entitled to no higher praise than that of having shown
the greatest skill in arranging the " disjecta membra" of the
poets of antiquity.
* CramUe's Gymnasium, Preface, p. viii.
i
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? viii
PREFACE.
It remains but to add to what has been already observed
respecting the plan of the present work, that in order to re-
move if possible every difficulty, which might otherwise im-
pede the metrical career of the student, it has been deemed
advisable to add a synopsis of the principal poetic licenses
which occur in the versification of Virgil, together with a me-
trical index to the Odes and Epodes of Horace, and the scan-
ning of the most difficult of his mixed Iambics. The former
of these is taken from a small metrical guide to Virgil, pub-
lished a few years since by Dr. Carey, and which is in every
point of view deserving of being reprinted in this country.
The student will also observe, that an index is given at the
end of the volume, to all the lines, other than Hexameters,
which are cited in it as illustrative of the quantities of words,
by referring to which, he will be directed to the proper measure
to which the lines in question respectively belong.
In conclusion, it is hoped that the imperfections of the pre-
sent work will be viewed with indulgence, in consideration of
the motive which has given rise to its publication. Should it
have the good fortune to reach a second edition, the compiler
will gratefully avail himself of every judicious emendation
which may be offered for its improvement.
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? METRICAL INDEX
TO THE LINES, OTHER THAU HEXAMETERS, WHICH ARE CITED
THROUGHOUT THE WORK AS ILLUSTRATIVE OF THE
QUANTITIES OF WORDS, &C.
The numbers refer to the general list of metres.
Abitnrns illuc,
Abscidit vultus, .
Accendit geminas,
Addas hexameter,
Ah ego non possum,
An ideo tantum, .
Brevi docebo,
Cserula quot baccas,
Carpere causidicus,
Cam quibus Alcides,
Cum semel in partes
Cum subito nostros,
Cam subito thalami,
Cur facunda parum,
Datur tibi puella,
Dices 6 quoties, .
Die inquam,
Differat in putros,
Dissidens plebi, .
Drusorum cui,
Kgo primam tollcv
Kmi hortOBj
Kt bibis immundam,
Et credit cui,
Kt domus intactte,
a Et earum omnia,
Kt gelklum subito,
Et mala radices, .
Et mecum Erinuys,
Kt pictis anas,
Et thuris pipeiisqiie,
Excitor et summa,
Eximit virtus,
20.
4.
Let the student, in reading the poems of Virgil, be taught to
pay strict attention to the melodious numbers by which they
are adorned--let him mark the beautiful effect produced by
the frequent changing of the Csesural pause, and learn to con-
trast these changes with each other, and to note their respec-
tive degrees of harmony--let him, in perusing the lyric com-
positions of Horace, be made fully acquainted with the various
measures, which lend to them so powerful a charm, and the
peculiar sweetness and melody by which so many of these are
characterized--and when he shall have done this, he will have
made no mean progress in his acquaintance with the beauties
of ancient poetry; but let him not waste his strength on such
an exercise as versification, which is in so great a degree purely
mechanical, and the most successful competitor in which, seems
after all, entitled to no higher praise than that of having shown
the greatest skill in arranging the " disjecta membra" of the
poets of antiquity.
* CramUe's Gymnasium, Preface, p. viii.
i
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? viii
PREFACE.
It remains but to add to what has been already observed
respecting the plan of the present work, that in order to re-
move if possible every difficulty, which might otherwise im-
pede the metrical career of the student, it has been deemed
advisable to add a synopsis of the principal poetic licenses
which occur in the versification of Virgil, together with a me-
trical index to the Odes and Epodes of Horace, and the scan-
ning of the most difficult of his mixed Iambics. The former
of these is taken from a small metrical guide to Virgil, pub-
lished a few years since by Dr. Carey, and which is in every
point of view deserving of being reprinted in this country.
The student will also observe, that an index is given at the
end of the volume, to all the lines, other than Hexameters,
which are cited in it as illustrative of the quantities of words,
by referring to which, he will be directed to the proper measure
to which the lines in question respectively belong.
In conclusion, it is hoped that the imperfections of the pre-
sent work will be viewed with indulgence, in consideration of
the motive which has given rise to its publication. Should it
have the good fortune to reach a second edition, the compiler
will gratefully avail himself of every judicious emendation
which may be offered for its improvement.
? ? Generated for (University of Chicago) on 2014-12-26 11:28 GMT / http://hdl. handle. net/2027/njp. 32101064224445 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? METRICAL INDEX
TO THE LINES, OTHER THAU HEXAMETERS, WHICH ARE CITED
THROUGHOUT THE WORK AS ILLUSTRATIVE OF THE
QUANTITIES OF WORDS, &C.
The numbers refer to the general list of metres.
Abitnrns illuc,
Abscidit vultus, .
Accendit geminas,
Addas hexameter,
Ah ego non possum,
An ideo tantum, .
Brevi docebo,
Cserula quot baccas,
Carpere causidicus,
Cam quibus Alcides,
Cum semel in partes
Cum subito nostros,
Cam subito thalami,
Cur facunda parum,
Datur tibi puella,
Dices 6 quoties, .
Die inquam,
Differat in putros,
Dissidens plebi, .
Drusorum cui,
Kgo primam tollcv
Kmi hortOBj
Kt bibis immundam,
Et credit cui,
Kt domus intactte,
a Et earum omnia,
Kt gelklum subito,
Et mala radices, .
Et mecum Erinuys,
Kt pictis anas,
Et thuris pipeiisqiie,
Excitor et summa,
Eximit virtus,
20.
4.
?
4,
S3.
4.
21.
20.
4.
4.
4.
4.
20.
20.
40.
20.
39.
4.
4.
32.
33.
20.
4.
?
4.
JO,
4.
30.
4.
4.
20.
? ? 33.
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? METRICAL INDEX.
Non sal oxyporiimYe,'
Non tu Poraponii
Nostrapte culpa,
Nulla queat,
Nunc ades, .
Nunc Celtiber, .
Nunc mare,
O factum male, .
Ohe jam satis est,
Pars thyma,
Partes fere nox, .
Parvamne Iolcon,
Parvum tigillura,
Prxmia de lacubus,
Propellit Boreas,
Quae fama modo,
Quid hoc hie,
Quid tibi cum patria,
Quod si pudica, .
Quod peto da Cat,
33.
4
84
4
4.
31.
13.
33.
33.
4
30.
30.
30.
4.
4.
16.
80.
4
30.
4
Quo levis a nobis,
Quo non dignior,
Sal, oleum, panis,
Sero domain,
Sed norunt cui, .
Sed nunc rogare,
Sibique melius, .
Si auctoritatetn, .
Si gaudet, si flet, .
Si totus tibi,
Signa rariuS,
Sintvultus, .
Tecum mihi,
Tethya et, .
Thyrsin et, .
Tu tibi dux,
c Unde retro nemo,
Vendere nil debet,
Vide ne dolone, .
Vir Celtiberis,
c An error of the press occurs in this line, as cited at page 43: the fitful
syllable of retro should he there marked with >> thort quantity.
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? ERRATA.
Page 26, line 28, for plantandnat, read platanigat.
59, note d, line 17, for verbs, read verses.
95, line 1, read Dirige o\dorise | guos, &c.
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? SECT. L
PROSODY teaches the proper accent and quantity of
syllables, and the right pronunciation of words.
Syllables are composed of one or more letters, as 2, e-runt.
Letters are divided into vowels and consonants.
The vowels are six, A, E, I, O, U, Y.
From the vowels are formed six diphthongs, M, AU, El,
EU, CE, YI.
The consonants are divided into mutes and semivowels.
The mutes are eight, B, C, D, G, K, P, Q, T. >>
The semivowels are likewise eight, F, L, M,b N, R, S,c
X, Z.
Of the semivowels four are liquids, L, M, N, R.
Two are double letters, viz. X and Z; the X being equal
to CS, GS, or KS, and the Z to DS or TS.
a The letter C was pronounced hard before E, I, and Y, as well as
before A, O, and IT, having the sound of It. In Coins, however, it was
pronounced as G, which peculiarity is noticed by Terentianus, ,de Syllab.
617: hence the Greek writers uniformly spell the name Taioc.
b The final M and final X were pronounced with a slight nasal sound,
as in the French words Faim and Pain, so as to be hardly or not at all
distinguishable from each other. The Portuguese give this sound to the
M, even at the present day, in Latin words. On this principle Dr. Carey
explains the use of the figure EcthUpsis. Thus also, in words derived from
the Greek, the terminations ay, ft, and or, became, in Latin, am, im, and
on or om. So tusum is written for twtmm, conjux for conjunx, to ties for
totiens, fas for Jane; and Greek names in at, sometimes drop the v
in Latin, and sometimes retain it.
c The early Romans did not, in many cases, pronounce the final S,
unless the following word began with a vowel: thus--
Suavis hom*, facundu', suo contenlu', beatus. Ennius.
About Cicero's time it began to be generally sounded, though Cicero him-
self, as well as his contemporaries, Catullus and Lucretius, sometimes
omit it.
A
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? 2
OF LETTERS.
The letter H is generally considered as only a note of
aspiration or breathing. Some ancient grammarians, how-
ever, regarded H as a consonant, and ranked it with the
semivowels.
The letter J was nothing more than the I less fully pro-
nounced, though considered by some of the old grammari-
ans as a species of consonant.
In words of Greek origin, the I is always a vowel; as
Iason, Iocasta, Deianira. A
The U was pronounced like our OO, or broad U, as in
Fool, Rule ; hence the easy transition, in many words, from
O to U, as vulc for volt, virulentua for virolenlus. The
letter U, when it follows G or Q, becomes a liquid vowel,
hardly perceptible in pronunciation, and losing, according
to Priscian, its whole force as a letter in the verse.
The letter V derives its power from the iEolic or Tuscan
digamma. It was used until the time of Claudius, both as a
vowel and a consonant. ; as a consonant having the power of
the iEolic digamma or our W, as a vowel of the common
17. e The Emperor Claudius, disliking this double use of
V, endeavoured to introduce the old ^Eolic or Tuscan cha-
racter of the digamma, and so leave V a vowel only. This
new letter, however, was not used long, but gave way to the
consonant V, which again resumed its double power of
digamma and U. In English, we have the sound of the
W where we use no character at all: the word one, we
pronounce as if it were toonef
d Quinctillan, I. 4, considers the J and I in conjicio as the same vowel
doubled. It has been supposed that the letter J was sounded by the Ro-
mans as it now is by the Germans in Johr, Jena, i. e. exactly like the
Knglish initial Y in Youth, Tear, vit. Yahr, Yena; so that Jupiter, Jbcui,
Jaculum, were pronounced Yupittr, Yocus, Yaculum. Hence the easy
derivation of Julius from lulus. JEncid, I. 292.
e Hence A-n>ispex, avi'spex, auspex; Ca-vri-tum, cavftwn, cautum,
See.
f That the -35olic djgamma resembled most our W in sound, has been
affirmed by writers ot the best authority, as Erasmus, Lipsius, Beotley,
Dawes, and many others. The formation of the sound of the Latin con-
sonant V, as described by Terentianus, corresponds exactly with that of our
W, both being uttered, according to his words, " productius coeuntibua
labellis. " Many words beginning with V in Latin, which have passed into
our own language, are by us used with the W. Thus vinum, -wine ; vasto,
to waste i via, -way; vicus, viick (a terainatiou to several names of
places) j ventus, -wind; vespa, -wasp, &c.
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? ( 3)
SECT. II.
QUANTITY OF SYLLABLES.
SYLLABLES are either short, long, or common.
The quantity of a syllable is the time taken up in pro-
nouncing it.
A short syllable is rapidly pronounced, and consists of one
time; as ci in concido, to fall.
A long syllable is slowly pronounced, requiring generally
double the time occupied in the pronunciation of a short
one; as ci in concido, to cut to pieces.
the scanning of the mixed trimeter and dimeter iambics of the latter poet. By Charles Anthon.
Anthon, Charles, 1797-1867.
New York, Printed and sold by T. and J. Swords, 1824.
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? Princeton University Library
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? --. "3 *w ~*'r> S Si > *
J:
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? or
LATIN PROSODY AND METRE,
COMPILED
FROM THE BEST AUTHORITIES J
TOGETHER WITH
A SYNOPSIS OF POETIC LICENSES
occcnniNQ IS THE versification or TIBGII,
A METRICAL INDEX
TO THE LYBIC COMPOSITION'S OF HORACE,
AND THE
SC^JVJVTJVG
<(C)F THE MIXED TIUMETER AND DIMETER IAMBICS
OF THE LATTER POET.
BY CHARLES ANTHON,
ADJDNCT PBOFESSOR 07 LANGUAGES 1ST COLUMBIA COLLEGE, MEW-YOBK,
? Levia quidem haee, et parvi forte, si per se spectentur, raomenti; sed ex elementis
constant, ex principiis oriuntur omnia, et ex judicii consuetudine in rebus minutU
adbihita, pendet ssepissime etiam in maximis vera atque accurata scientia"
Clarke, Praf. ad 11.
NEW-YORK;
PRINTED AND SOLD BY T. AND J. SWORDS,
No. 99 Pearl-street.
1824.
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? Southern District of JVew-Tork, js.
TIE it remembered, that on the third day of June, hi the
forty-eighth year of the Independence of the United States
of America, T. (i J. Swords, of the said District, have depo-
sited in this Office the title of a book, the right whereof they
claim as proprietors, in the words following, to wit: " Elements
>>f Latin Prosody and Metre, compiled from the best Authorities; to-
gether with a Synopsis of Poetic Licenses occurring in the Versification
of Virgil, a Metrical Index to the Lyric Compositions of Horace, and
the Scanning of the mixed Trimeter and Dimeter Iambics of the latter
Poet. By Charles Anthon, Adjunct Professor of Languages in Co-
lumbia College, New-York. --' Levia quidem hsec, et parvi forte, si per se
spectentur, momenti; sed ex eleraentis constant, ex principiis oriuntur om-
nia, et ex judicii consuetudine in rebus minutis adhibita, pendet saepissime
etiam in maximis vera atque accurata scientia. ' Clarke, Prtef ad H. "
In conformitv to the Act of Congress of the United States, entitled "An
Act for the Encouragement of Learning, by securing the Copies of Maps,
Charts, and Books, to the Authors and Proprietors of such Copies, during
the time therein mentioned. And also to an Act, entitled " An Act,
supplementary to an Act, entitled An Act for the Encouragement of
Learning, by securing the Copies of Maps, Charts, and Books, to the
Authors and Proprietors of such Copies, during the times therein men-
tioned, and extending the Benefits thereof to the Arts of Designing, En-
graving, and Etching Historical and other Prints. "
JAMES DILL,
Clerk of the Soutliern District of New-York.
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? TO
PETER WILSON, LL. D.
S3U5MTUS PHOTESSOB OF IANODAQES IH COLUMBIA COLtSS^
HEW-XOBK,
THIS WORK
>>tNients*]),
AS A TESTIMONIAL 07 RESPECT
FOB SCHOLARSHIP
AND WORTH,
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? PREFACE.
It was originally intended by the compiler of the present
work, to publish merely an improved edition of the Latin
Prosody of Alvarez. Upon reflection, however, this plan was
abandoned, as being liable to many serious objections; and
the one which has been followed in the present instance, was
adopted in its stead. The utility of Latin rules indeed, as a
medium of instruction, seems very questionable in any case,
and it may reasonably be doubted, whether the very few ad-
vantages likely to result from them, can in any degree com-
pensate for the numerous evils with which they appear to be
inseparably connected. On this point, however, each in-
structor will of course be guided by his own judgment and
experience; and as it is not presumed to dictate to those who.
may be better qualified to decide on this subject, the work has
been so arranged as to suit the purposes of instruction in
either event. The metrical rules of Alvarez, occasionally al-
tered, wherever such alteration seeraed necessary, are first
given, and the principles concisely stated in them are next
presented more in detail, and in an English garb. This plan
will, it is conceived, be liable to the fewest objections.
It being the object of the present work, to initiate the young
prosodian into a more extensive acquaintance with the prin-
ciples of Latin prosody and metre, than the smaller compentte
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? PREFACE.
hitherto published in this country admit of, no pains have been
spared towards the accomplishment of so desirable an end.
And as on such a subject as the present, not only the general
features, but eren the minor details of which, have been so
frequently discussed, but little originality can be expected, it
seemed the most adviseable course to collect together from the
Best treatises, whatever appeared worthy of the student's at-
tention, and promised to be beneficial to him. The work
which has been principally followed for this purpose, and of
which the present performance may in some respects be con-
sidered as an abridgment, is the Latin Prosody of Dr. Carey,
which is justly esteemed one of the ablest productions in this
department of instruction. The valuable grammar of Grant
has also furnished copious materials, as well as the Port-Royal
Latin Grammar and Gesner's Thesaurus. With these and
other sources from which to select, it would have been a very
easy task to have extended the work far beyond its present li-
mits; but it may be doubted whether its increase in size would
have been accompanied with a proportionate increase of bene-
fit to those for whose use it is intended. Under the head of
metre in particular, the work might have been considerably
enlarged by the addition of numerous rules for the composition
of Latin verse; but besides that it is by far the safest course in
such cases, to refer the student at once to the fountain head
whence this information is to be derived, the works namely of
the ancient poets themselves, it may likewise be allowed us
even to entertain some degree of doubt with regard to the
utility of this branch of academical labour. The course of
education in this country is so very rapid, as to afford the stu-
dent but little leisure for holding converse with the deities of
Helicon in the musical dialects of former times--nor is the
privation to be lamented by him. The practice of Latin and
Greek versification, though viewed by many as a highly orna-
mental and enviable feature in the schools of England, is ev<<fc
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? PREFACE.
there far from producing such advantages, as can compensate
for the time which is spent upon it. It may have indeed a
direct tendency to invigorate the imagination and to improve
the taste; " but still," to use the words of an able scholar of
that same country, u if we consider that the principal ad-
vantages resulting from this practice are attainable by other
means, and if we reflect how few there are who aTe by nature
qualified to become poets, and how rarely occasion presents
itself for exhibiting a skill in the composition of Latin or
Greek poetry, we cannot help regarding the art of versification
in its most classic style, as comparatively of secondary im-
portance. "*
. Let the student, in reading the poems of Virgil, be taught to
pay strict attention to the melodious numbers by which they
are adorned--let him mark the beautiful effect produced by
the frequent changing of the Csesural pause, and learn to con-
trast these changes with each other, and to note their respec-
tive degrees of harmony--let him, in perusing the lyric com-
positions of Horace, be made fully acquainted with the various
measures, which lend to them so powerful a charm, and the
peculiar sweetness and melody by which so many of these are
characterized--and when he shall have done this, he will have
made no mean progress in his acquaintance with the beauties
of ancient poetry; but let him not waste his strength on such
an exercise as versification, which is in so great a degree purely
mechanical, and the most successful competitor in which, seems
after all, entitled to no higher praise than that of having shown
the greatest skill in arranging the " disjecta membra" of the
poets of antiquity.
* CramUe's Gymnasium, Preface, p. viii.
i
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? viii
PREFACE.
It remains but to add to what has been already observed
respecting the plan of the present work, that in order to re-
move if possible every difficulty, which might otherwise im-
pede the metrical career of the student, it has been deemed
advisable to add a synopsis of the principal poetic licenses
which occur in the versification of Virgil, together with a me-
trical index to the Odes and Epodes of Horace, and the scan-
ning of the most difficult of his mixed Iambics. The former
of these is taken from a small metrical guide to Virgil, pub-
lished a few years since by Dr. Carey, and which is in every
point of view deserving of being reprinted in this country.
The student will also observe, that an index is given at the
end of the volume, to all the lines, other than Hexameters,
which are cited in it as illustrative of the quantities of words,
by referring to which, he will be directed to the proper measure
to which the lines in question respectively belong.
In conclusion, it is hoped that the imperfections of the pre-
sent work will be viewed with indulgence, in consideration of
the motive which has given rise to its publication. Should it
have the good fortune to reach a second edition, the compiler
will gratefully avail himself of every judicious emendation
which may be offered for its improvement.
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? METRICAL INDEX
TO THE LINES, OTHER THAU HEXAMETERS, WHICH ARE CITED
THROUGHOUT THE WORK AS ILLUSTRATIVE OF THE
QUANTITIES OF WORDS, &C.
The numbers refer to the general list of metres.
Abitnrns illuc,
Abscidit vultus, .
Accendit geminas,
Addas hexameter,
Ah ego non possum,
An ideo tantum, .
Brevi docebo,
Cserula quot baccas,
Carpere causidicus,
Cam quibus Alcides,
Cum semel in partes
Cum subito nostros,
Cam subito thalami,
Cur facunda parum,
Datur tibi puella,
Dices 6 quoties, .
Die inquam,
Differat in putros,
Dissidens plebi, .
Drusorum cui,
Kgo primam tollcv
Kmi hortOBj
Kt bibis immundam,
Et credit cui,
Kt domus intactte,
a Et earum omnia,
Kt gelklum subito,
Et mala radices, .
Et mecum Erinuys,
Kt pictis anas,
Et thuris pipeiisqiie,
Excitor et summa,
Eximit virtus,
20.
4.
Let the student, in reading the poems of Virgil, be taught to
pay strict attention to the melodious numbers by which they
are adorned--let him mark the beautiful effect produced by
the frequent changing of the Csesural pause, and learn to con-
trast these changes with each other, and to note their respec-
tive degrees of harmony--let him, in perusing the lyric com-
positions of Horace, be made fully acquainted with the various
measures, which lend to them so powerful a charm, and the
peculiar sweetness and melody by which so many of these are
characterized--and when he shall have done this, he will have
made no mean progress in his acquaintance with the beauties
of ancient poetry; but let him not waste his strength on such
an exercise as versification, which is in so great a degree purely
mechanical, and the most successful competitor in which, seems
after all, entitled to no higher praise than that of having shown
the greatest skill in arranging the " disjecta membra" of the
poets of antiquity.
* CramUe's Gymnasium, Preface, p. viii.
i
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? viii
PREFACE.
It remains but to add to what has been already observed
respecting the plan of the present work, that in order to re-
move if possible every difficulty, which might otherwise im-
pede the metrical career of the student, it has been deemed
advisable to add a synopsis of the principal poetic licenses
which occur in the versification of Virgil, together with a me-
trical index to the Odes and Epodes of Horace, and the scan-
ning of the most difficult of his mixed Iambics. The former
of these is taken from a small metrical guide to Virgil, pub-
lished a few years since by Dr. Carey, and which is in every
point of view deserving of being reprinted in this country.
The student will also observe, that an index is given at the
end of the volume, to all the lines, other than Hexameters,
which are cited in it as illustrative of the quantities of words,
by referring to which, he will be directed to the proper measure
to which the lines in question respectively belong.
In conclusion, it is hoped that the imperfections of the pre-
sent work will be viewed with indulgence, in consideration of
the motive which has given rise to its publication. Should it
have the good fortune to reach a second edition, the compiler
will gratefully avail himself of every judicious emendation
which may be offered for its improvement.
? ? Generated for (University of Chicago) on 2014-12-26 11:28 GMT / http://hdl. handle. net/2027/njp. 32101064224445 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? METRICAL INDEX
TO THE LINES, OTHER THAU HEXAMETERS, WHICH ARE CITED
THROUGHOUT THE WORK AS ILLUSTRATIVE OF THE
QUANTITIES OF WORDS, &C.
The numbers refer to the general list of metres.
Abitnrns illuc,
Abscidit vultus, .
Accendit geminas,
Addas hexameter,
Ah ego non possum,
An ideo tantum, .
Brevi docebo,
Cserula quot baccas,
Carpere causidicus,
Cam quibus Alcides,
Cum semel in partes
Cum subito nostros,
Cam subito thalami,
Cur facunda parum,
Datur tibi puella,
Dices 6 quoties, .
Die inquam,
Differat in putros,
Dissidens plebi, .
Drusorum cui,
Kgo primam tollcv
Kmi hortOBj
Kt bibis immundam,
Et credit cui,
Kt domus intactte,
a Et earum omnia,
Kt gelklum subito,
Et mala radices, .
Et mecum Erinuys,
Kt pictis anas,
Et thuris pipeiisqiie,
Excitor et summa,
Eximit virtus,
20.
4.
?
4,
S3.
4.
21.
20.
4.
4.
4.
4.
20.
20.
40.
20.
39.
4.
4.
32.
33.
20.
4.
?
4.
JO,
4.
30.
4.
4.
20.
? ? 33.
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? METRICAL INDEX.
Non sal oxyporiimYe,'
Non tu Poraponii
Nostrapte culpa,
Nulla queat,
Nunc ades, .
Nunc Celtiber, .
Nunc mare,
O factum male, .
Ohe jam satis est,
Pars thyma,
Partes fere nox, .
Parvamne Iolcon,
Parvum tigillura,
Prxmia de lacubus,
Propellit Boreas,
Quae fama modo,
Quid hoc hie,
Quid tibi cum patria,
Quod si pudica, .
Quod peto da Cat,
33.
4
84
4
4.
31.
13.
33.
33.
4
30.
30.
30.
4.
4.
16.
80.
4
30.
4
Quo levis a nobis,
Quo non dignior,
Sal, oleum, panis,
Sero domain,
Sed norunt cui, .
Sed nunc rogare,
Sibique melius, .
Si auctoritatetn, .
Si gaudet, si flet, .
Si totus tibi,
Signa rariuS,
Sintvultus, .
Tecum mihi,
Tethya et, .
Thyrsin et, .
Tu tibi dux,
c Unde retro nemo,
Vendere nil debet,
Vide ne dolone, .
Vir Celtiberis,
c An error of the press occurs in this line, as cited at page 43: the fitful
syllable of retro should he there marked with >> thort quantity.
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? ERRATA.
Page 26, line 28, for plantandnat, read platanigat.
59, note d, line 17, for verbs, read verses.
95, line 1, read Dirige o\dorise | guos, &c.
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? SECT. L
PROSODY teaches the proper accent and quantity of
syllables, and the right pronunciation of words.
Syllables are composed of one or more letters, as 2, e-runt.
Letters are divided into vowels and consonants.
The vowels are six, A, E, I, O, U, Y.
From the vowels are formed six diphthongs, M, AU, El,
EU, CE, YI.
The consonants are divided into mutes and semivowels.
The mutes are eight, B, C, D, G, K, P, Q, T. >>
The semivowels are likewise eight, F, L, M,b N, R, S,c
X, Z.
Of the semivowels four are liquids, L, M, N, R.
Two are double letters, viz. X and Z; the X being equal
to CS, GS, or KS, and the Z to DS or TS.
a The letter C was pronounced hard before E, I, and Y, as well as
before A, O, and IT, having the sound of It. In Coins, however, it was
pronounced as G, which peculiarity is noticed by Terentianus, ,de Syllab.
617: hence the Greek writers uniformly spell the name Taioc.
b The final M and final X were pronounced with a slight nasal sound,
as in the French words Faim and Pain, so as to be hardly or not at all
distinguishable from each other. The Portuguese give this sound to the
M, even at the present day, in Latin words. On this principle Dr. Carey
explains the use of the figure EcthUpsis. Thus also, in words derived from
the Greek, the terminations ay, ft, and or, became, in Latin, am, im, and
on or om. So tusum is written for twtmm, conjux for conjunx, to ties for
totiens, fas for Jane; and Greek names in at, sometimes drop the v
in Latin, and sometimes retain it.
c The early Romans did not, in many cases, pronounce the final S,
unless the following word began with a vowel: thus--
Suavis hom*, facundu', suo contenlu', beatus. Ennius.
About Cicero's time it began to be generally sounded, though Cicero him-
self, as well as his contemporaries, Catullus and Lucretius, sometimes
omit it.
A
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? 2
OF LETTERS.
The letter H is generally considered as only a note of
aspiration or breathing. Some ancient grammarians, how-
ever, regarded H as a consonant, and ranked it with the
semivowels.
The letter J was nothing more than the I less fully pro-
nounced, though considered by some of the old grammari-
ans as a species of consonant.
In words of Greek origin, the I is always a vowel; as
Iason, Iocasta, Deianira. A
The U was pronounced like our OO, or broad U, as in
Fool, Rule ; hence the easy transition, in many words, from
O to U, as vulc for volt, virulentua for virolenlus. The
letter U, when it follows G or Q, becomes a liquid vowel,
hardly perceptible in pronunciation, and losing, according
to Priscian, its whole force as a letter in the verse.
The letter V derives its power from the iEolic or Tuscan
digamma. It was used until the time of Claudius, both as a
vowel and a consonant. ; as a consonant having the power of
the iEolic digamma or our W, as a vowel of the common
17. e The Emperor Claudius, disliking this double use of
V, endeavoured to introduce the old ^Eolic or Tuscan cha-
racter of the digamma, and so leave V a vowel only. This
new letter, however, was not used long, but gave way to the
consonant V, which again resumed its double power of
digamma and U. In English, we have the sound of the
W where we use no character at all: the word one, we
pronounce as if it were toonef
d Quinctillan, I. 4, considers the J and I in conjicio as the same vowel
doubled. It has been supposed that the letter J was sounded by the Ro-
mans as it now is by the Germans in Johr, Jena, i. e. exactly like the
Knglish initial Y in Youth, Tear, vit. Yahr, Yena; so that Jupiter, Jbcui,
Jaculum, were pronounced Yupittr, Yocus, Yaculum. Hence the easy
derivation of Julius from lulus. JEncid, I. 292.
e Hence A-n>ispex, avi'spex, auspex; Ca-vri-tum, cavftwn, cautum,
See.
f That the -35olic djgamma resembled most our W in sound, has been
affirmed by writers ot the best authority, as Erasmus, Lipsius, Beotley,
Dawes, and many others. The formation of the sound of the Latin con-
sonant V, as described by Terentianus, corresponds exactly with that of our
W, both being uttered, according to his words, " productius coeuntibua
labellis. " Many words beginning with V in Latin, which have passed into
our own language, are by us used with the W. Thus vinum, -wine ; vasto,
to waste i via, -way; vicus, viick (a terainatiou to several names of
places) j ventus, -wind; vespa, -wasp, &c.
? ? Generated for (University of Chicago) on 2014-12-26 11:28 GMT / http://hdl. handle. net/2027/njp. 32101064224445 Public Domain, Google-digitized / http://www. hathitrust. org/access_use#pd-google
? ( 3)
SECT. II.
QUANTITY OF SYLLABLES.
SYLLABLES are either short, long, or common.
The quantity of a syllable is the time taken up in pro-
nouncing it.
A short syllable is rapidly pronounced, and consists of one
time; as ci in concido, to fall.
A long syllable is slowly pronounced, requiring generally
double the time occupied in the pronunciation of a short
one; as ci in concido, to cut to pieces.
