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(e.g., Nutricum tenus,' LXIV. 18), 5 times in LXII., 28 times in LXIV. Virgil' only uses the ruder rhythm exceptionally, and in passages where he imitates Catullus or Lucretius: in the latter it is quite common.

2. In the third foot the caesura the more ordinary ·

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(instead of occurs 7 times in LXII., 28 times in LXIV. This is commoner in Lucretius, and is frequent in Virgil, especially in the Eclogues.

3. Bucolic caesura. The fourth foot closes with the end of a word (generally a spondee) 27 times in LXII., 247 times in LXIV. This is a favourite rhythm (if not quite so frequently found) in Lucretius; but-although occurring about 240 times in the Eclogues (which contain 829 vv.)—it is generally avoided by Virgil in his other poems.

The trochaic rhythm in a dactyl in the 4th foot (e.g., saepe levi somno suadebit | inire susurro) is un-Greek, and is never found in Catullus (once only in Cicero, according to Munro, and rarely in the most finished parts of Lucretius). Virgil employs it (not reckoning the cases when the last short of this dactyl is a monosyllable) 18 times in the Eclogues (829 vv.); 40 times in the Georgics (2188 vv.); and 135 times in the Aeneid (9895 vv.); and it is perhaps still more frequent in Ovid.

4. Catullus belonged to the orоVOELάZOVTES: 6 times in LXII., and 26 times in LXIV. only one dactyl is found in a verse, in the fourth or fifth foot, and twice (LXIV. 3, 44) the last five feet are all spondees. There are in LXIV. 27 dispondaic endings, of which 8 are preceded by a dissyllable containing two shorts (~~). Dispondaic endings are comparatively rare in Lucretius, and a trispondaic ending is unknown. In Virgil spondaic endings are imitations from the Greek or perhaps Alexandrine affectations. If the last word is a tetrasyllable in Virgil it is also a proper name (so 10 times; exc. Ecl. iv. 49, Aen. III. 549): not so in Catullus, who in LXIV. has 22 dispondaic tetrasyllabic endings. When a dispondaic ending is not also a tetrasyllable, it violates the usual law of the Latin hexameter which requires metrical ictus and verbal accent to correspond in the last two feet of the verse. This irregularity occurs 5 times in LXIV., and at least 13 times in Virgil.

I find, however, that in the Eclogues this rhythm is far from exceptional; it is rarer in the Georgics, but still as frequent as in Catullus; and the same may be affirmed of the Aeneid.

5. Catullus ends a verse with a monosyllable twice, LXII. 45, LXIV. 315; Virgil 28 times; Lucretius often-all violating the law which requires the coincidence of verbal accent and metrical ictus at the close of the verse. One (LXIV. 55) two dissyllables (not dispondaic) break the same law in the Georgics thrice, at least, and a dozen times in the last books of the Aeneid. A tetrasyllable (not dispondaic) occurs twice in LXII. (hymenaeus), the same word being found in a similar position in LXIV. twice, and calathisci once. Virgil has hymenaeus at the end of a verse 10 times, hyacinthus 5 times : but also ululatu, lacrimisque. These also involve a discordance of ictus and accent, and (before the last two Greek words) a lengthening of a short syllable. Virgil of course freely ends with similar tetrasyllables when they are proper names. Once in LXII., twice in LXIV., the last word is pentasyllabic. Such endings (as also tetrasyllabic endings not requiring discordance of ictus and accent) are much liked by Lucretius. More than a dozen pentasyllabic proper names end Virgil's verses: add to them ancipitemque (Aen. v. 589), quadrupedantum (XII. 614).

6. Of elisions between fourth and fifth foot there are 2 in LXII., 9 in LXIV. These are not rare in Lucretius or Virgil (-que is generally the elided syllable). Elisions between fifth and sixth feet appear once in LXII., 5 times in LXIV. they are not at all avoided by Lucretius, and he is occasionally imitated by Virgil, but rarely, in this respect. Catullus, generally, is less harsh in his elisions in his hexameters than in his other metres.

7. There is one Hypermeter in Catullus (LXIV. 298) as there is one in Lucretius (v. 849); Virgil has about a score, the last syllable being in all but two cases -que.

H. In Catullus, alone among Latin poets, the ELEGIAC retains its original form, its Greek freedom, ease and elasticity. In other hands, even in those of Propertius, but more than all in the hands of Ovid, this metre became Latinized, and underwent a change, similar to (but far greater than) the change undergone by the hexameter as finally represented in Virgil, or the Sapphic or Alcaic in Horace. The fundamental originality of the Roman genius nowhere reveals itself so clearly, to just examination, as in the use which it made of what it borrowed or rather annexed, from the literature of Greece. The elder tragedy, the elder comedy, speculative

philosophy, and the simple lyric, were soon left alone as incompatible with the native mind. But the epic and the elegiac and the epigram, like new provinces, could be conquered, could adopt Roman laws, submit to and survive a Roman reconstruction. A loss of freedom could be compensated by dignity, a loss of ease by symmetry, a loss of spontaneity by precision, a loss of nature by art. The transformation of a province and of poetry under Roman rule meant death to the old forms, but regeneration into new forms of perfection. At the same time, in both cases, some room might still remain for regret; and we cannot but regret that others did not arise to continue, after Catullus, the freer growth, the more fluent and natural and less artificial maturity, of the Greek elegaic. For he has left some whole poems and many passages which show, like Caesar's plans, what might have been but for the Ides of March."

Of Catullus 642 elegiacs remain (LXV.-CXVI). Ovid's rules, such as the close of a thought with a couplet, the avoidance of elision, especially in the latter half of both the hexameter and the pentameter, the preponderance of dactyls, the ending of the couplet with a dissyllable, which must be either noun or verb, and the like, were not observed by Catullus. In the hexameter he has 9 monosyllabic endings, 9 tetrasyllabic, 9 dispondaic, 2 pentasyllabic (LXVIII. 105, XCVII. 5). One hexameter (cXIV. 3) consists of six spondees. In the pentameter there is one monosyllabic ending (LXVI. 8). 83 trisyllabic endings, 98 tetrasyllabic, 17 pentasyllabic, 1 heptasyllabic (LXVIII. 72); and 34 adjectival endings. Elision occurs between the first and second halves of the pentameter 16 times; hiatus thrice.

J. The few peculiarities of Catullus' PROSODY are :

(«) The lengthening of a short final vowel before two consonants in THESIS: Propontida trucem IV. 9, impotentia freta 18, nefaria scripta XLIV. 18, modo scurra XXII. 12, ultima Britannia XXIX. 4; in ARSIS, si pote stolidum XVII. 24, gelida stabula LXIII. 53, nulla spes LXIV. 187.

(3) That a short final syllable is lengthened thrice before hymenaeus LXII. 4, LXIV. 20, LXVI. 11. See also LXI. 223 note. (7) Hiatus occurs LXVI. 11. novo auctus, and (shortening the preceding long vowel) LV. 4 tě in, cxiv. 6 modo (abl.) ipse. See also X., 27 note, and supra A. ad fin.

(d) 8 is once elided, cxvI. 8.

APPENDIX II.

THE DICTION OF CATULLUS.

One of the greatest charms of Catullus lies in the simplicity and naturalness of his language, which are in great contrast to the later artificial Latin style. In this inimitable spontaneity' he is 'the most Greek of all the Latin poets.' He is free from Grecism, however, as he is free from everything artificial or archaic or affected, both in vocabulary and in syntax. However difficult the metre in which he writes, however subtle the thought he would convey, he is never intricate and never obscure. His words seem to have fallen of themselves into metre without leaving their natural order,1 and would make good prose-if they were not poetry. His language, in the epigrams, lyrics, and elegiacs, is little removed from ordinary speech. He is full of familiar phrases; he is fond of the diminutives of affectionate or merry talk; he uses the tongue of the wits of the town, the lips of the lover of real life. Even his Greek words were those heard in com. mon conversation. In the truest sense, he followed

Usus

Quem penes arbitrium est et jus et norma loquendi.

1. FAMILIAR EXPRESSIONS in Catullus are:

a. Indefinite phrases.

I. 8, quicquid hoc libelli, qualecunque quidem.

VI. 15, quicquid habes boni malique.

1 Except only XLIV. 9, LXVI. 18, 41, 65, LXXXVIII B. 28, 108.

2'I hold it to be one of the most grievous defects of the literary diction established in the Augustan age, that it almost banished from the language of poetry those diminutives which are a characteristic, not only of Catullus' diction, but of the letters to Atticus and of the verse of Plautus & Terence: it made the lyric of the heart impossible.'-Munro.

a. Indefinite phrases-continued.

XXXVII. 4, quicquid est puellarum.
Xxx. 13, quicquid est domi cachinnorum.
LXVIII A. 28, quisquis de meliore nota est.
II. 2, quantum est hominum venustiorum.
IX. 10, quantum est hominum beatiorum.
XLV. 5, quantum qui pote plurimum perire.
v. 13, tantum basiorum.

XIV. 7, tantum impiorum.

XXIV. 2, non horum modo sed quot aut fuerunt,

aut sunt aut aliis erunt in annis. XXI. 2, XLIX. 2.

II. 6, carum nescio quid.

VI. 4, nescio quid febriculosi scorti.

XXXVIII. 7, paulum quid libet allocutionis.
VI. 14, ni tu quid facias ineptiarum.

XIII. 10, seu quid suavius elegantiusve est.
XLII. 14, aut si perditius potest quid esse.
XXII. 13, aut si quid hac re tritius videbatur.
LXXXII. 2, aut aliud si quid carius est oculis.

b. Colloquial idioms.

III. 13, vobis male sit, x. 18, maligne, XIV. 10, bene ac beate.

v. 3, unius aestimemus assis.

XVII. 17, nec pili facit uni.

VII. 2, sint satis superque.

x. 6, quid esset jam Bithynia, quomodo se haberet?

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9, id quod erat.

11, cur quisquam caput unctius referret.

17, unum beatiorum.

XXII. 10, unus caprimulgus aut fossor.

XXXVII. 16, tu praeter omnes une de capillatis.

X. 29, fugit me ratio.

XI. 20, ilia rumpere.

IX. 2, milia trecenta (= plurima)—passim.

XVII. 5, ex tua libidine.

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18, ex sua parte.

III. 17, tua opera.

XVII. 12, nec sapit pueri instar.

XXIX. 23, eone nomine.

XXXVI. 16, acceptum face redditumque.

XXVIII. 8, refero datum lucello.

XLIV. 4, quovis pignore contendere.

LXI. 93, si jam videtur.

LXIV. 277, ad se quisque discedebant.
LXVII. 16, sive id non pote sive pote.
XCII. 3, quia sunt totidem mea.
XXXII. 1, amabo.

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