Unde foetus mixtus omnes aleret magno corpore.

Jussit omnes adsidere pueri mater alitis,

The verse is very frequent in the dramatists. They allow the known licenses, only they preserve the last trochee pure. The diaeresis is often neglected, as Plaut. Mil. glor. II. 2. 38.

Dómi habet animum fálsiloquum, falsificum, falsijúrium.

Plautus has the hiatus often in the diaeresis, as Amph. V. 1. 42.

Mánibus puris, cápite operto. Ibi continuo cóntonat,

and sometimes also after the first or third dipody, as Asinar. II. 2. 26.

Edepol hominem - infelicem, quí patronam cómprimat. Poen. III. 1. 35.

Quidquid est pauxillulum illuc : nóstrum id omne — intus est. For an example of the catalectic tetrameter, as used by the Roman dramatists, take Enuius in Cic. de Orat. III. 58.

Múltimodis sum circumventus, mórbo, exilio atque inopia;
Túm pavor sapiéntiam mi omnem éxanimato expectorat;
Alter terribilém minitatur vitae cruciatum ét necem,
Quaé nemo est tam firmo ingenio et tánta confidéntia,
Quin refugiat tímido sanguen átque exalbescát metu.

Terent. Eun. II. 2. 17-22.

Est genus hominum, qui ésse primos ómnium rerum volunt,
Néc sunt; hos conséctor; hisce ego nón paro me ut rideant,
Séd eis ultro adrídeo, et eorum ingenia admirór simul:
Quidquid dicunt, laúdo, id rursum si negant, laudo id quoque :
Négat quis? nego; ait? ájo, postremo imperavi egomét mihi
Omnia adsentári. Is quaestus nunc est multo ubérrimus.

A satirical verse, which was formed by reversing the closing iamb of the catalectic tetrameter. The arrhythmy resulting from this produces a comic effect. The diaeresis, after the second dipody, is also the principal caesura. Re

solutions seem frequently to have been admitted, especially in the first part of the verse. It was not well possible for the last foot to assume the form of a tribrach. The fragment of Ananius in Athen. VII. p. 282. B, may serve as an example:

Ἔαρι μὲν χρόμιος ἄριστος, ἀνθίας δὲ χειμῶνι·

Τῶν καλῶν δ ̓ ὄψων ἄριστον καρὶς ἐκ συκέης φύλλου·
Ἡδύ τ ̓ ἐσθίειν χιμαίρης φθινοπωρισμῷ κρεῖας,
Δέλφακος δ ̓, ὅταν τραπέωσιν καὶ πατέωσι σῦκ ̓, ἔσθειν.
Καὶ κυνῶν αὐτὴ τόθ' ώρη καὶ λαγῶν καλωπήκων·
Οϊος αὖθ ̓, ὅταν θέρος τ' ᾖ κἠχέται βαβράζωσιν.
Εἶτα δ ̓ ἐστὶν ἐκ θαλάσσης θύννος οὐ κακὸν βρῶμα,
̓Αλλὰ πᾶσιν ἰχθύεσσιν ἐμπρεπὴς ἐν μυττωτῷ.
Βοῦς δὲ πιανθεὶς δοκέω μὲν καὶ μέσων νυκτῶν ἡδὺς
Χἡμέρης.

Pentameter trochaicus catal. ὑπέρμετρον.

Callimachus in Hephaestion and Bentley, ad fragm. Callim. CXV.

Ἔρχεται πολὺς μὲν Αἰγαῖον διατμήξας ἀπ' οἰνηρῆς Χίου Αμφορεὺς, πολὺς δὲ Λεσβίης ἄωτον νέκταρ οινάνθης ἄγων.

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Hephaestion erroneously numbers this verse, consisting of two ithyphallics, among the asynartete. He quotes as an example from Sappho:

Δεῦρο, δεῦτε Μοῖσαι, χρύσεον λιποῖσαι.

This verse consists of two ithyphallics, the first of which is preceded by the anacrusis. It is originally an Italian metre, and occurs, therefore, in the oldest monuments of

the Latin language, in epitaphs and religious songs (Carmen saliare). As the doctrine of quantity gained entrance into the Latin language from the imitation of Greek models only, it is evident that in this oldest metre originally little or no regard was paid to quantity, but that the rhythm of the verse was indicated by the word-accent.* When at a later period Livius Andronicus translated the Odyssey, in Saturnian metre, into Latin, and Naevius wrote the Punic war in the same metre, the verse seems to have been governed more by the rhythmical laws of the Greeks by adopting the above scheme, but allowing the same liberties with which the older Roman dramatists treated the trochaic tetrameter and the iambic trimeter.

We may, therefore, assume two epochs for the Saturnian verse. In the first epoch, until Livius and Naevius, its measure is yet very unsettled; the rhythm is, however, evidently trochaic. It usually corresponds to two ithyphallics, sometimes with, sometimes without an anacrusis before the first ithyphallic. Sometimes the last syllable or even the last foot seems to have been wanting to the second ithyphallic; nay, it is said that there were hypercatalectic verses, as the grammarians, at least, for example Atilius Fortunat. p. 2679, affirm. It is not to be denied, however, that the grammarians, by applying the metrical laws of the later Latin poets to the Saturnian verse, considered many a verse as anomalous which in fact was not.

The song of the Arvalian fraternity may serve as an example of Saturnian verses of the first epoch:

Ennos, Láses, juváte,

Néve luérvem, Mármar, síns incurrere in pléores,
Sátur furere, Márs, limén salis sta bérber.
Sémunis altérnei - ádvocápit cónctos.

Ennos, Mármor, juváto.

Triumpe, triumpe.

It is to be observed that pleores (flores) should be read as two syllables; moreover, the lengthening of the a in satur (as in quatuor), the omission of the diaeresis in the third verse, and the hiatus in the diaeresis of the fourth verse, are to be noticed.

* Carmina saturnio metro compta ad rhythmum solum componere vulgares consuerunt. Serv. ad Virg. Georg. II. 385.

The older among the epitaphs of the Scipios are evidently of a similar Saturnian rhythm, which Naevius likewise employed in his own epitaph. They can easily be arranged as verses if we do not everywhere insist upon the Saturnian verse properly so called. We select the following epitaph as an example:

Cornelius Lucius Scipio Barbatus.

Gnaívod pátre prognátus, fórtis vír sapiénsque,
Quoíus fórma virtútei parisuma fúvit,

Cónsol, cénsor, aédilis quei fuvit apud vos,
Taúrasiá, Cisaúna, Sámnió [que] cépit,
Súbicit ómne Lucánia óbsidésque abdoúcit.

The ground rhythm of the later Saturnian verse was:

The resolution of the longs, the middle time for every short, the anapaest for the iamb, and even the resolution of the middle time were everywhere allowed. The diaeresis was frequently neglected, and the hiatus sometimes admitted in it. The grammarians quote as examples:

Dabúnt malum Metelli Naévio poetae.

Magnum numerum triumphat hóstibus devictus.
Ferúnt pulcras creterras, aúreas lepistas.
Duelló magno dirimendo, régibus subigendis.
Fundit, fugat, prosternit máximas legiones.
Summás opes qui regum régias refregit.

We quote finally the epitaph of Naevius in Gellius, 1. 24.
Mortalis immortalis flere si foret fas,

Flerént divae Camoenae Naévium poetam.
Itáque postquam est Orcino tráditus thesauro,
Obliti sunt Romae loquiér Latina lingua.

It was sometimes used by the Romans, for example, by the

emperor Hadrian :

Animula vagula, blandula,
Hospes comesque corporis,
Quae nunc abibis in loca
Pallidula, rigida, nudula,

Nec, ut soles, dabis jocos.

Seneca, too, has such verses in his choruses, as Agam. III. 2. Instant sorores squalidae,

Sanguinea jactant verbera,

Fert laeva semustas faces, etc.

and also Auson. Epigr. XXIX, XCIV, CXXXVIII.

A dimeter with an ithyphallic following, as Callim. Fragm. CXVI.

Ἔνεστ' Απόλλων τῷ χορῷ, τῆς λύρης ἀκούω· Καὶ τῶν Ἐρώτων ᾐσθόμην, ἔστι κ' Αφροδίτα. Aristoph. Vesp. 248-272.

Τὸν πηλὸν, ὦ πάτερ πάτερ, τουτονὶ φύλαξαι. — Κάρφος χαμαθέν νυν λαβὼν τὸν λύχνον πρόβυσον. Ούκ, ἀλλὰ τῳδί μοι δοκῶ τὸν λύχνον προβύσειν. — The diaeresis after the dimeter is always observed, except v. 252 and 265.

Καὶ ταῦτα τοὐλαίου σπανίζοντος, ανόητε.

Ὕδωρ γενέσθαι κἀπιπνεῦσαι βόρειον αὐτοῖς.

Hephaestion erroneously numbers this verse among the asyn

A dimeter with a tetrapodia troch. cat. following. Archilochus in Hephaestion:

Δήμητρος ἁγνῆς καὶ Κόρης τὴν πανήγυριν σέβων.