p. Mil., 31, Vos enim jam ego, Albani tumuli atque lucı, &c.; farther, personification; as, e. g., Cicero in Cat., i., 7, introduces his native country as speaking; hyperbole, irony, simile, sentence, &c., whose manifold use must be learned from the writings of the best authors, with which we strongly advise the student to combine the study of the eighth and ninth books of Quintilian's Institutio Oratoria, and the excellent fourth book of the Author ad Herennium among Cicero's rhetorical writings. [§ 825.] We add, in conclusion, as an example for imitation, a very simple proposition, transformed according to the several figures mentioned above. The theme or subject is this, litteris delector. Geminatio. Litterae, litterae, inquam, solae me delectant. Repetitio. Litterae me puerum aluerunt, litterae me juvenem ab infamia libidinum servarunt, litterae virum in rep. administranda adjuverunt, litterae senectutis imbecillitatem consolabuntur. Conversio. Litterae honestissima voluptate oblectant, rerum novarum inventione oblectant, immortalitatis spe certissima oblectant. Complexio. Qui litteris delectatur, qui vero inveniendo de lectatur, qui doctrina propaganda delectatur, eum vos malum esse civem putatis? Traductio. Quid vis? Tune litteris delectaris, qui litteraram fundamenta odisti ? Polysyndeton. Litterae et erudiunt et ornant et oblectantTM et consolantur. Paronomasia. Qui possim ego litteris carere, sine quibus vitam ipsam agerem invitus? Ομοιόπτωτον, ὁμοιοτέλευτον. Num putas fieri posse, ut, qui litterarum studiis teneatur, libidinum vinculis obstringatur? 'AVTÍOETOV. Qui litteris delectari te dicis, voluptatibus implicari te pateris? 'AvτIμεтaboλn. Non quia delector, studeo litteris: sed Αντιμεταβολή. quia studeo, delector. Gradatio. Studia mihi litterarum doctrinam, doctrina gloriam, gloria invidiam et obtrectationem comparavit. Aposiopesis. Quid? Tu audes hoc mihi objicere, qui nihil unquam invita expetierim nisi virtutem et doctrinam : tu quid expetieris-sed taceo, ne convicium tibi fecisse videar. AoúvdeTov. Quid dicam de utilitate litterarum? Erudiunt, ornant, oblectant, consolantur. Correctio. Litterae me delectant: quid dico delectant? Immo consolantur, ut unicum mihi perfugium praebent inter has vitae laboriosae molestias. Dubitatio. Litterae me sive erudiunt, sive oblectant, sive consolantur: nam quid potissimum dicam nescio. APPENDIX I. OF METRE; ESPECIALLY WITH REGARD TO THE LATIN POETS. [§ 826.] 1. THE words of a language consist of long and short syllables. In measuring syllables, the time consumed in pronouncing a short syllable is taken as a standard, and this portion of time is called mora. A long syllable takes two morae, and is therefore, in this respect, equal to two short syllables. Which syllables, in the Latin language, are considered short, and which long, has been shown in Chap. III. From the combination of syllables of a certain quantity arise what are called Feet (pedes), of which there are four of two syllables, eight of three syllables, sixteen of four syllables, thirty-two of five syllables, &c., since the respective number of syllables admits of so many variations. For the sake of brevity, specific names have been given to those feet which consist of two, three, and four syllables, as well as to some of five : (a) of two syllables: - Pyrrhichius; bone, pater, lege. Spondeus; audax, constans, virtus. Iambus; potens, patres, legunt. Trochaeus, or Choreus; laetus, fortis, gaudet. (b) Of three syllables: Tribrachys; domine, dubius, legere. Anapaestus; bonitas, meditans, legerent. Bacchius; dolores, amavi, legebant. Amphimacer, Creticus; fecerant, legerant, cogitans. Palimbacchius, Antibacchius; praeclarus, peccata, legisse. (c) Of four syllables: Proceleusmaticus; celeriter, memoria, relegere. runt Y Y - Ionicus a minori; adolescens, generosi, adamari. Ionicus a majori; sententia, mutabilis, perlegerat Ditrochaeus, Dichoreus; educator, infidelis, eruditus. Diïambus; amoenitas, renuntians, supervenis. Antispastus; verecundus, abundabit, perillustris. Choriambus; impatiens, credulitas, eximios. Paeon primus; credibilis, historia, attonitus. secundus; modestia, amabilis, idoneus. tertius; puerilis, opulentus, medicamen. quartus; celeritas, misericors, refugiens Epitritus primus; laborando, reformidant, salu tantes. secundus; administrans, imperatrix, comprobavi. tiens. tertius; auctoritas, intelligens, dissen quartus; assentator, infinitus, naturalis. [§ 827.] 2. These feet are, as it were, the material of which prose and verse are equally composed: but while in prose the sequence and alternation of long and short syllables is not particularly attended to, and only on certain occasions, ancient poetry, so far as the outward form is concerned, consists entirely in the alaptation of words, by the arrangement of long and short syllables, to the reception of the Rhythm. Rhythm, in this respect, is the uniformity of the duration of time, in the raising and sinking of the voice, or Arsis and Thesis. We raise and sink the voice also in common discourse, but not at definite intervals, nor with a regular return. In these intervals, or in the proportion of the duration of the Arsis to the duration of the Thesis, consists the difference of the Rhythm. The Arsis is either equal to the Thesis, or twice as long, as will be seen in the difference of the two feet, the Dactyl and the Trochee, and, the Arsis (marked thus) being combined with the long syllable. The same proportion takes place when the Thesis precedes the Arsis in the Anapaest and Iambus and The first species, in which the Arsis forms the beginning, is called the descending Rhythm; the other, in which the Thesis forms the beginning, the ascending. From these simple rhythms, the artificial are composed, by the combination of two simple series and the suppres sion of a Thesis, viz., the Paeonic, Choriambic, and Ionic rhythms. The three Paeonic feet are, the Creticus, the Bacchius, and the Antibacchius ; the Choriambus; the two Ionics and 22. In verses of simple rhythm Arsis and Thesis are joined in alternate succession; while in verses of a complicate rhythm, partly from the nature of the foot itself, and partly from the combination of two feet, one Arsis may meet another Arsis, which imparts to the verse an animated and impetuous character. [§ 828.] Note.-The metrical intonation, or Ictus, which falls on the syllable that, according to the rhythm, receives the Ársis, is, in Greek and Latin, entirely independent of the accent of words. The old Latin comic writers, indeed, have endeavoured to bring the accent of words into conformity with the rhythmical intonation, and this is the reason why they allowed themselves many shortenings of syllables which are long by posítion; but, far from making the accent guide the rhythm, they only endeavoured to produce this coincidence in the middle dipodia, and even there by no means uniformly. In the other parts of Latin poetry, which more closely follow the regularity of the Greek, no regard at all is paid to the accent of words, any more than by the Greeks; nay, it should seem that the ancients derived a pleasure from the discordance between the metrical intonation and the ordinary accent. In A'rma virúmque canó Trojaé qui primus ab óris it is only in the end of the verses that the prose accent and the metrical intonation coincide. In the recitation of verse the latter should predominate, but not so as entirely to suppress the ordinary accent of words. The metrical accent, or ictus, has the power of giving short syllables the value of long ones. This, however, is not frequent, except in the short final syllable of polysyllabic words ending in a consonant, and especially where the force of the arsis is aided by the principal caesura of the verse; e. g., Virg., Ecl., x., 69, Omnia vincit amor, et nos cedamus amori; Horat., Serm., i., 5, 90, callidus ut soleat | humeris portare viator; Ovid, Art. Am., iii., 63, Nec quae praeterit | iterum revocabitur unda; but also without the aid of the principal caesura; e. g., Hor., Serm., ii., 3, 260, exclusus qui distat ? | agit ubi secum; eat, an non. Ovid, Metam., ix., 610, non adut apte non legit idonea, credo. Final syllables ending in a vowel are much less frequently lengthened by the arsis. It has, however, been remarked (see Schneider's Elementarlehre, p. 752), that this occurs surprisingly often with the enclitic que in the second foot of the hexameter, commonly supported by the caesura, of which we shall speak under No. 8; e. g., Virg., Aen., iii., 91, Liminaque laurusque dei; Ovid, Met., v., 484, Sideraque ventique nocent. Short monosyllabic words are never lengthened by the arsis. [§ 829.] 3. Several feet, united in one simple rhythm, constitute a series (ordo). The dissyllable feet, i. e., trochees and iambi (when they do not pass into another rhythm, in which case a simple foot may be reckoned as a series), are united into such series, of two feet each, or dipodiae: a dipodia is also called a metre; hence, e. g., an iambic verse of six feet is called an iambic trimeter (trimeter iambicus). Of the feet of three syllables, the |