63. Instead of reading, he is 63. Pilam agit quum legere 67. He is kind in suffering 67. Benignus est qui te pro you to depart. 68. He is too strong to be subdued. 69. Hannibal did not neglect 69. Non defuit Hannibal Carthage. 70. Cicero defended Marcel 70. Aderat Marcello M. Tul ENGLISH. 71. Some people think. 72. My friend Marcus. 73. I find great pleasure in doing this. The indicative is used when a particular per son or persons are alluded to: e. g. Horace's 'Sunt qui non habeant est qui non curat habere.' The subjunctive is used when a vague and undefined class is generally referred to. 72. Marcus meus. 73. Hoc gratissimum facio. 74. He is far from being 74. Procul abest quin sævus 75. It was owing to you that 75. Per te stetit quominus I was not made prætor. 76. You are envied. 77. A revolution. To aim at a revolution. prætor fierem. 78. I care not a straw for 78. Non hujus [or flocci] te 79. To indulge a person in 79. Indulgere aliquid alicui. ENGLISH. 82. The search after wisdom. The loss of Hector. 83. Things contrary to each other. 84. Pity for the poor. Love for Marcus [objective genitive]. Love felt by Marcus [subjective genitive]. 85. Hercules in Xenophon. Gorgias of Leontium. 86. Q. Sulpicius of the Lemonian tribe. 87. The battle of Cannæ. The war with Mithri dates. 88. The end of the street. The surface of the water. 89. Hesiod's sentiment. 90. Every fifth year. 91. One interprets in this way, another in another way. 92. And no one. In order that no one. 93. Whether I wish or no. 94. From the first to the last. LATIN. 82. Sapientia quæsita. Ademptus Hector. 83. Res inter se contrariæ. 84. Misericordia pauperum. Amor Marci [objective]. Marci amor [subjective]. 85. Hercules Xenophonteus. Gorgias Leontinus. 86. Q. Sulpicius Lemoniâ. 87. Prælium Cannense. Bellum Mithridaticum. 88. Ultima platea. Summa aqua. 89. Illud Hesiodium. 90. Quinto quoque anno. 91. Alius alio modo interpretatur. 92. Nec ullus. Ne quis [not quis-quam]. 93. Velim nolim. 94. Prima postrema. 98. He wrote from his estate 98. Ex Formiano scripsit. THE RHYTHM OF LATIN PROSE. None but general rules can be given for the Rhythm of Latin Prose composition; because, as I shall presently attempt to show, it differs materially in the Epistolary, the Didactic, the Oratorical, and the Historical style. ‘Id quidem perspicuum est,' says Cicero, 'non omni causæ, nec auditori, neque personæ, neque tempori congruere orationis unum genus. Nam et causæ capitis alium quemdam verborum sonum requirunt, alium rerum privatarum atque parvarum et aliud dicendi genus deliberationes, aliud laudationes, aliud judicia, aliud sermones, aliud disputatio, aliud historia desiderat.' - De Orat. iii. 55. Nor is the rhythm either of history or of oratory uniform. 'Aliud genus,' says Cicero, in reference to oratorical composition, ́aliud genus est narrandi, aliud persuadendi, aliud docendi.'-Orator, 51. : The rhythm of classical prose is founded upon the same laws as the rhythm of classical poetry- the laws of ancient harmony; but it is not subject to metrical rules. Neque numerosa esse, ut poëma,' says Tully, 'neque extra numerum, ut sermo vulgi, esse debet oratio.' The greatest writers and the greatest orators of antiquity bestowed the nicest care on the modulation of their periods. At the death of Plato, the first line of his Republic' was found in his study, with the words variously disposed in seven different ways. In the hands of professional rhetoricians, the study of harmony was carried to excess and Isocrates is censured both by Cicero* and Quintiliant for his extreme anxiety to avoid collisions of vowels at the end of one word and the beginning of another, and to secure the even balance of the several clauses of his periods. Cicero himself was the pupil of several eminent rhetoricians, who were doubtless imbued with a high sense of the value of their craft. His good taste, however, conspicuously triumphed over the pedantry of an excessive subtlety. He declares, that the rules of composition are rather æsthetical than artistic that a highly elaborate modulation will defeat itself, by suggesting suspicions of design; and he deprecates too fastidious a pursuit of particular metrical combinations, which, he says, will spontaneously suggest themselves in the train of composition, and will answer us without a summons. He condescends, however, to give some general rules for the structure of periods. The balance of proportion, he says, must be observed in the arrangement of the clauses: for if they are too short at the close of a sentence, the roundness of the period is lost; harsh elisions must be shunned: the length of a sentence ought to vary with the subject + QUINT. X. 1. ** CICERO, Orator, 44. De Oratore, iii. 49. |