Institutio Oratoria |
Translator: Harold Edgeworth Butler
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| 2851 |
Etsi vereor , iudices , et Animadverti , iudices . Sed initia initiis non convenient , ut T . Livius hexametri exordio coepit : Facturusne operae pretium sim ( nam ita edidit , estque melius , quam quo modo emendatur ) ,
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etsi vereor, iudices, for example and animadverti, iudices. But the opening feet of a verse are not suited to the opening phrases of prose: Livy provides an example of this in his preface, which begins with the first half of a hexameter, 'Facturusne operae premium sim:' for these are the words as he wrote them, and they are better so than as they have been corrected. Again, |
| 2852 |
nec clausulae clausulis , ut Cicero , Quo me vertam , nescio , qui trimetri finis est . Trimetrum et senarium promiscue dicere licet , sex enim pedes , tres percussiones habet . Peius cludit finis hexametri , ut Brutus ut epistolis : Neque illi malunt habere tutores aut defensores , quoniam causam sciunt placuisse Catoni .
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the cadence of a verse is not suitable to the cadence of a period: compare the phrase of Cicero, Quo me vertam, nescio, which is the end of a trimeter. It matters not whether we speak of a trimeter or of a senarius, since the line has six feet and three beats. The end of a hexameter forms a yet worse conclusion; compare the following passage from the letters of Brutus: neque illi malunt halbere tutores aut defensores, quoniam causam sciunt placuiisse Catoni. |
| 2853 |
Illi minus sunt notabiles , quia hoc genus sermoni proximum est . Itaque et versus hi fere excidunt , quos Brutus ipso componendi durius studio saepissime facit , non raro Asinius , sed etiam Cicero nonnunquam , ut ut principio statim orationis ut Lucium Pisonem : Pro di immortales , qui hic nunc illuxit dies ?
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Iambic endings are less noticeable, because that metre is near akin to prose. Consequently such lines often slip from us unawares: they are specially common in Brutus as a result of his passion for severity of style; they are not infrequent in Asinius, and are sometimes even found in Cicero, as for example at the very beginning of his speech against Lucius Piso: Pro di immortales, qui hic nunc illuxit dies? |
| 2854 |
Non minore autem cura vitandum est quidquid est ἔνρυθμον , quale apud Sallustium , Falso queritur de natura sua . Quamvis enim vincta sit , tamen soluta videri debet oratio . Atqui Plato , diligentissimus compositionis , ut Timaeo prima statim parte vitare ista non potuit .
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Equal care must however be taken to avoid any phrase of a definitely metrical character, such as the following passage from Sallust: Falso queritur de natura sua. For although the language of prose is bound by certain laws, it should appear to be free. None the less Plato, despite the care which he devotes to his rhythm, has not succeeded in avoiding this fault at the very opening of the Timaeus, |
| 2855 |
Nam et initium hexametri statim invenias , et Anacreontion protinus colon efficias , et si velis trimetron , et quod duobus pedibus et parte πενθημιμερές a Graecis dicitur , et haec omnia ut tribus versibus ; et Thucydidi ὑπὲρ ἥμισυ ( ... lost text ... ) κᾶρες ἐφάνησαν ex mollissimo rhythmorum genere excidit .
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where we are met at the very outset with the opening of a hexameter, which is followed by a colon which can be scanned as an Anacreontic, or if you like, as a trimeter, while it is also possible to form what the Greeks call a πενθημιμερὲς (that is a portion of the hexameter composed of two feet and a part of a third): and all these instances occur within the space of three lines. Again Thucydides has allowed to slip from his pen a phrase of the most effeminate rhythm in ὑπὲρ ἥμισυ Κᾶρες ἐφάνησαν |
| 2856 |
Sed quia omnem compositionem oratoriam constare pedibus dixi , aliqua de his quoque ; quorum nomina quia varia traduntur , constituendum est , quo quemque appellemus . Equidem Ciceronem sequar , ( nam is eminentissimos Graecorum est secutus ) excepto quod pes mihi tris syllabas non videtur excedere , quanquam ille paeane dochmioque , quorum prior ut quattuor , secundus ut quinque excurrit , utatur .
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But, having stated that all prose rhythm consists of feet, I must say something on these as well. Different names are given to these feet, and it is necessary to determine what we shall call each of them. For my part I propose to follow Cicero (for he himself followed the most eminent Greek authorities), with this exception, that in my opinion a foot is never more than three syllables long, whereas Cicero includes the paean and the dochmiac (u – – u –), of which the former has four and the latter as many as five syllables. |
| 2857 |
Nec tamen ipse dissimulat , quibusdam numeros videri non pedes ; neque immerito ; quidquid est enim supra tris syllabas , id est ex pluribus pedibus . Ergo cum constent quattuor pedes binis , octo ternis , spondeum longis duabus , pyrrhichium , quem alii pariambum vocant , brevibus , iambum brevi longaque , huic contrarium e longa et brevi choreum , non ut alii trochaeum nominemus .
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He does not, however, conceal the fact that some regard these as rhythms rather than feet: and they are right in so doing, since whatever is longer than three syllables involves more than one foot. Since then there are four feet which consist of two syllables, and eight composed of three, I shall call them by the following names: two long syllables make a spondee; the pyrrhic or pariambus, as some call it, is composed of two shorts; the iambus of a short followed by a long; its opposite, that is a long followed by a short, is a choreus, for I prefer that term to the name of trochee which is given it by others. |
| 2858 |
Ex iis vero , qui ternas syllabas habent , dactylum longa duabusque brevibus , huic temporibus parem , sed retro actum appellari constat anapaeston . Media inter longas brevis faciet amphimacrum , sed frequentius eius nomen est creticus ; longa inter breves , amphibrachyn huic contrarium .
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Of trisyllabic feet the dactyl consists of a long followed by two shorts, while its opposite, which has the same time-length, is called an anapaest. A short between two longs makes an amphimacer, although it is more often called a cretic, while a long between two shorts produces its opposite, the amphibruachys. Two long syllables following a short make a bacchius, |
| 2859 |
Duabus longis brevem sequentibus bacchius , totidem longis brevem praecedentibus palimbacchius erit . Tres breves trochaeum , quem tribrachyn dici volunt , qui choreo trochaei nomen imponunt ; totidem longae molosson efficient .
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whereas, if the long syllables come first the foot is called a palimbacchius. Three shorts make a trochee, although those who give that name to the choreus call it a tribrach: three longs make a molossus. |
| 2860 |
Horum pedum nullus non ut orationem venit , sed quo quique sunt temporibus pleniores longisque syllabis magis stabiles , hoc graviorem faciunt orationem , breves celerem ac mobilem . Utrumque locis utile ; nam et illud , ubi opus est velocitate , tardum et segne , et hoc , ubi pondus exigitur , praeceps ac resultans merito damnetur .
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Every one of these feet is employed in prose, but those which take a greater time to utter and derive a certain stability from the length of their syllables produce a weightier style, short syllables being best adapted for a nimble and rapid style. Both types are useful in their proper place: for weight and slowness are rightly condemned in passages where speed is required, as are jerkiness and excessive speed in passages which call for weight. |
| 2861 |
Sit ut hoc quoque aliquid fortasse momenti , quod et longis longiores et brevibus sunt breviores syllabae , ut , quamvis neque plus duobus temporibus neque uno minus habere videantur , ideoque ut metris omnes breves longaeque inter se ipsae sint pares , lateat tamen nescio quid quod supersit aut desit . Nam versuum propria condicio est , ideoque ut his quaedam etiam communes .
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It may also be important to remark that there are degrees of length in long syllables and of shortness in short. Consequently, although syllables may be thought never to involve more than two time-beats or less than one, and although for that reason in metre all shorts and all longs are regarded as equal to other shorts and longs, they none the less possess some undefinable and secret quality, which makes some seem longer and others shorter than the normal. Verse, on the other hand, has its own peculiar features, and consequently some syllables may be either long or short. |
| 2862 |
Veritas vero quia patitur aeque brevem esse vel longam vocalem , cum est sola , quam cum eam consonantes una pluresve praecedunt , certe ut dimensione pedum syllaba , quae est brevis , insequente alia vel longa vel brevi , quae tamen duas primas consonantes habeat , fit longa , ut " Agrestem tenui musam : " nam A brevis ,
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Indeed, since strict law allows a vowel to be long or short, as the case may be, when it stands alone, no less than when one or more consonants precede it, there can be no doubt, when it comes to the measuring of feet, that a short syllable, followed by another which is either long or short, but is preceded by two consonants, is lengthened, as for example in the phrase agrestem tenui musam. |
| 2863 |
gres brevis , faciet tamen longam priorem ; dat igitur illi aliquid ex suo tempore . Quo modo , nisi habet plus quam quae brevissima , qualis ipsa esset detractis consonantibus ? Nunc unum tempus accommodat priori et unum accipit a sequente ; ita duae natura breves positione sunt temporum quattuor .
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For both a and gres are short, but the latter lengthens the former, thereby transferring to it something of its own time-length. But how can it do this, unless it possesses greater length than is the portion of the shortest syllables, to which it would itself belong if the consonants st were removed? As it is, it lends one time-length to the preceding syllable, and subtracts one from that which follows. Thus two syllables which are naturally short have their time-value doubled by position. |
| 2864 |
Miror autem ut hac opinione doctissimos homines fuisse , ut alios pedes ita eligerent aliosque damnarent , quasi ullus esset , quem non sit necesse ut oratione deprehendi . Licet igitur paeana sequatur Ephorus , inventum a Thrasymacho , probatum ab Aristotele , dactylumque ut temperatos brevibus ac longis , fugiat spondeum et trochaeum ,
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I am, however, surprised that scholars of the highest learning should have held the view that some feet should be specially selected and others condemned for the purposes of prose, as if there were any foot which must not inevitably be found in prose. Ephorus may express a preference for the paean (which was discovered by Thrasymachus and approved by Aristotle) and for the dactyl also, on the ground that both these feet provide a happy mixture of long and short; and may avoid the spondee and the trochee, |
| 2865 |
alterius tarditate nimia , alterius celeritate damnata , herous , qui est idem dactylus , Aristoteli amplior , iambus humilior videatur , trochaeum ut nimis currentem damnet eique cordacis nomen imponat , eademque dicant Theodectes ac Theophrastus , similia post eos Halicarnasseus Dionysius :
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condemning the one as too slow and the other as too rapid; Aristotle may regard the heroic foot, which is another name for the dactyl, as too dignified and the iambus as too commonplace, and may damn the trochee as too hasty and dub it the cancan; Theodectes and Theophrastus may agree with him, and a later critic, Dionysius of Halicarnassus, may adopt a similar view; |
| 2866 |
irrumpent etiam ad invitos , nec semper illis heroo aut paeane suo , quem , quia versum raro facit , maxime laudant , uti licebit . Ut sint tamen allis alii crebriores , non verba facient , quae neque augeri nec minui nec sicuti toni modulatione produci aut corripi possint , sed transmutatio et collocatio .
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but for all they say, these feet will force themselves upon them against their will, and it will not always be possible for them to employ the dactyl or their beloved paean, which they select for special praise because it so rarely forms part of a verse rhythm. It is not, however, the words which cause some feet to be of more common occurrence than others; for the words cannot be increased or diminished in bulk, nor yet can they, like the notes in music, be made short or long at will; everything depends on transposition and arrangement. |
| 2867 |
Plerique enim ex commissuris eorum vel divisione fiunt pedes ; quo fit ut iisdem verbis alii atque alii versus fiant , ut memini quendam non ignobilem poetam talem exarasse : " Astra tenet caelum , mare classes , area messem . " hic retrorsum fit sotadeus ; itemque e sotadeo retro trimetros : " Caput exeruit mobile pinus repetita . "
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For a large proportion of feet are formed by the connexion or separation of words, which is the reason why several different verses can be made out of the same words: for example, I remember that a poet of no small distinction writing the following line: "Astra tenet caelum, mare classes, area messem," a line which, if the order of the words be reversed, becomes a Sotadean; again, the following Sotadean, if reversed, reads as as an iambic trimeter: "caput exeruit mobile pinus repelita." Feet therefore should be mixed, |
| 2868 |
miscendi ergo sunt , curandumque , ut sint plures qui placent , et circumfusi bonis deteriores lateant . Nec vero ut litteris syllabisque natura mutatur , sed refert , quae cum quaque optime coeat . Plurimum igitur auctoritatis , ut dixi , et ponderis habent longae , celeritatis breves ; quae si miscentur quibusdam longis , currunt , si continuantur , exultant .
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while care must be taken that the majority are of a pleasing character, and that the inferior feet are lost in the surrounding crowd of their superior kindred. The nature of letters and syllables cannot be changed, but their adaptability to each other is a consideration of no small importance. Long syllables, as I have said, carry the greater dignity and weight, while short syllables create an impression of speed: if the latter are intermixed with a few long syllables, their gait will be a run, but a gallop if they are continuous. |
| 2869 |
Acres , quae ex brevibus ad longas insurgunt ; leniores , quae a longis ut breves descendunt . Optime incipitur a longis , recte aliquando a brevibus , ut Novum crimen ; lenius a duabus , ut Animadverti indices ; sed hoc pro Cluentio recte , quia initium eius partitioni simile est , quae celeritate gaudet .
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When a short syllable is followed by a long the effect is one of vigorous ascent, while a long followed by a short produces a gentler impression and suggests descent. It is therefore best to begin with long syllables, though at times it may be correct to begin with short, as in the phrase novum crimen: a gentler effect is created, if we commence with two shorts, as in the phrase animadverti iudices: but this opening, which comes from the pro Cluentio, is perfectly correct, since that speech begins with something similar to partition, which requires speed. |
| 2870 |
Clausula quoque e longis firmissima est ; sed venit et ut breves , quamvis habeatur indifferens ultima . Neque enim ego ignoro , ut fine pro longa accipi brevem , quia videtur aliquid vacantis temporis ex eo , quod insequitur , accedere ; aures tamen consulens meas , intelligo multum referre , verene longa sit , quae cludit , an pro longa . Neque enim tam plenum est Dicere incipientem timere , quam illud Ausus est confiteri .
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Similarly the conclusion of a sentence is stronger when long syllables preponderate, but it may also be formed of short syllables, although the quantity of the final syllable is regarded as indifferent. I am aware that a concluding short syllable is usually regarded as equivalent to a long, because the time-length which it lacks appears to be supplied from that which follows. But when I consult my own ears I find that it makes a great difference whether the final syllable is really long or only treated as the equivalent of a long. For there is not the same fullness of rhythm in diccre incipieniem timere as there is in ausus est confiteri. |
| 2871 |
Atqui si nihil refert , brevis an longa sit ultima , idem pes erit ; verum nescio quo modo sedebit hoc , illud subsistet . Quo moti quidam longae ultimae tria tempora dederunt , ut illud tempus , quod brevis ex loco accipit , huic quoque accederet . Nec solum refert , quis pes claudat , sed claudentem quis antecedat . Retrorsum autem neque plus tribus ,
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But if it makes no difference whether the final syllable be long or short, the concluding feet in these two instances must be identical: and yet somehow or other one gives the impression of sitting down and the other of a simple halt. This fact has led some critics to allow three timebeats for a final long syllable, adding the extra time-length which a short syllable derives from its position at the end of a sentence to the long syllable as well. And it not merely makes a difference with what foot a sentence ends, but the penultimate foot is also of importance. |
| 2872 |
iique , si non ternas syllabas habebunt , repetendi erunt ( absit enim poetica observatio ) , neque minus duobus ; alioqui pes erit , non numerus . Potest tamen vel unus esse dichoreus , si unus est , qui constat e duobus choreis .
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It is not, however, necessary to go back further than three feet, and only that if the feet contain less than three syllables, for we must avoid the exactitude of verse: on the other hand, we must not go back less than two: otherwise we shall be dealing with a foot and not with rhythm. But in this connexion the dichoreus may be regarded as one foot, if indeed a foot consisting of two chorei can be considered as a single foot. |
| 2873 |
Itemque paean , qui est ex choreo et pyrrhichio , quem aptum initiis putant , vel contra , qui est e tribus brevibus et longa , cui clausulam adsignant ; de quibus fere duobus scriptores huius artis loquantur . Alii omnes , ut quocunque sit loco longa , temporum quod ad rationem pertinet ,paeanas appellant .
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The same is true of the paean composed of the choreus and a pyrrhic, a foot which is regarded as specially suitable to the beginning of a sentence, or of the other paean, formed of three shorts followed by a long, to which the conclusion is specially dedicated. It is of these two forms that writers on rhythm generally speak. Some, however, call all feet containing three short syllables and a long by the name of paean, irrespective of the position of the long syllable, and merely taking into account the total number of time-lengths that it contains. |
| 2874 |
Est et dochmius , qui fit ex bacchio et iambo vel ex iambo et cretico , stabilis ut clausulis et severus . Spondeus quoque , quo plurimum est Demosthenes usus , non eodem modo semper se habet . Optime praecedet eum creticus , ut ut hoc , De qua ego nihil dicam , nisi depellendi criminis causa . Non nihil est , quod supra dixi multum referre , unone verbo sint duo pedes comprehensi an uterque liber . Sic enim fit forte Criminis casa ; molle Archipiratae , mollius , si tribrachys praecedat , facilitates , temeritates .
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The dochmiac, again, which consists of a bacchius and an iambus, or of an iambus and a cretic, forms a solid and severe conclusion. The spondee, so frequently employed in this position by Demosthenes, is used with varying effect. It is most impressive when preceded by a cretic, as in the following instance: De qua ego nihil dicam, nisi depellendi criminis causa. Again there is a point, of the importance of which I spoke above, namely that it makes a considerable difference whether two feet are contained in a single word or whether they are both detached. Thus criminis causa makes a strong and archipiratae a weak ending, while tile weakness is still further increased if the first foot be a tribrach, as for instance in words like facilitates or temeritates. |
| 2875 |
Est enim quoddam ipsa divisione verborum latens tempus , ut ut pentametri medio spondeo , qui nisi alterius verbi fine , alterius initio constat , versum non efficit . Potest , etiamsi minus bene , praeponi anapaestos : Muliere non solum nobili , verum etiam nota . Cum anapaestus et creticus ,
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For the mere fact that words are separated from each other involves an imperceptible length of time: for instance, the spondee forming the middle foot of a pentameter must consist of the last syllable of one word and the first of another, otherwise the verse is no verse at all. It is permissible, though less satisfactory, for the spondee to be preceded by an anapaest: e.g. muliere non solum nobili, verum etiami nota. |
| 2876 |
iambus quoque , qui est utroque syllaba minor ( praecedet enim tres longas brevis ) , sed et spondeus iambo recte praeponitur : armis fui .Cum spondeus , et bacchius , sic enim fiet ultimus dochmius :
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Andit may also, in addition to the anapaest and cretic, be preceded by the iambus, which is a syllable less in length than both of them, thus making one short syllable precede three long. But it is also perfectly correct to place a spondee before an iambus, as in armis fui, or it may be preceded by a bacchius instead of a spondee, e.g. in armis fui, thereby making the last foot a dochmiac. |
| 2877 |
In armis fui . Ex iis quae supra probavi apparet molosson quoque clausulae convenire , dum habeat ex quocunque pede ante se brevem : Illud scimus ubicunque sunt , esse pro nobis .
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From this it follows that the molossus also is adapted for use in the conclusion provided that it be preceded by a short syllable, though it does not matter to what foot the latter belongs: e.g. illud scimus, ubicunque sunt, esse pro nobis. |
| 2878 |
Minus gravis erit spondeus , praecedentibus palimbacchio et pyrrhichio , ut Iudicii Iuniani , et adhuc peius priore paeane , ut Brute , dubitavi ; nisi potius hoc esse volumus dactylum et bacchium . Duo spondei non fere se iungi patiuntur , quae ut versu quoque notabilis clausula est , nisi cum id fieri potest ex tribus quasi membris : Cur de perfugis nostris copias comparat is contra nos ? una syllaba , duabus , una .
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The effect of the spondee is less weighty, if it be preceded by a palimbacchius and pyrrhic, as in iudicii Iuniani. Still worse is the rhythm when the spondee is preceded by a paean, as in Brute, dubitavi, although this phrase may, if we prefer, be regarded as consisting of a dactyl and a bacchius. As a rule, endings composed of two spondees, a termination which causes comment even in a verse, are to be deprecated, unless the phrase is composed of three separate members, as in cur de perfiigis nostris copias comparat is contra nos? where we have a word of two syllables preceded and followed by a monosyllable. |
| 2879 |
Ne dactylus quidem spondeo bene praeponitur , quia finem versus damnamus ut fine orationis . Bacchius et claudit et sibi iungitur : Uenenum timeres ; vel choreum et spondeum ante se amat : Ut venenum timeres . Contrarius quoque qui est , cludet , nisi si ultimam syllabam longam esse volumus , optimeque habebit ante se molosson : Civis Romanus sum ; aut bacchium , Quod hic potest , nos possemus .
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Even the dactyl ought not to precede a final spondee, since we condemn verse-endings at the period's close. The bacchius is employed at the conclusion, sometimes in conjunction with itself as in venenum timerss while it is also effective when a choreus and spondee are placed before it as in ut venenum timeres. Its opposite, the palimbacchius, is also employed as a conclusion (unless, of course, we insist that the last syllable of a sentence is always long), and is best preceded by a molossus, as in civis Romanus sum, or by a bacchius, as in quod hie potest, nos possemus. |
| 2880 |
Sed verius erit claudere choreum praecedente spondeo , nam hic potius est numerus , Nos possemus et Romanus sum . Claudet et dichoreus , id est idem pes sibi ipse iungetur , quo Asiani sunt usi plurimum ; cuius exemplum Cicero ponit , Patris dictum sapiens temeritas filii comprobauit .
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It would, however, be truer to say that in such cases the conclusion consists of a choreus preceded by a spondee, for the rhythm is concentrated in nos possemus and Romanus sum. The dichoreus, which is the repetition of one and the same foot, may also form the conclusion, and was much beloved by the Asiatic school: Cicero illustrates it by Patris dictum sapiens temeritasfilii comprobavit. |
| 2881 |
Accipiet ante se choreus et pyrrhichium : Omnes prope cives virtute , gloria , dignitate superabat . Cludet et dactylus , nisi eum observatio ultimae creticum facit : Muliercula nixus ut litore . Habebit ante se bene creticum et iambum , spondeum male , peius choreum .
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The choreus may also be preceded by a pyrrhic, as in omnes prope cives virtute, gloria, digitiate superabat. The dactyl also may come at the close, unless indeed it be held that, when it forms the final foot, it is transformed into a cretic: e.g. muliercula nixus in litore. The effect will be good if it is preceded by a cretic or an iambus, but unsatisfactory if it is preceded by a spondee, and worse still if by a choreus. |
| 2882 |
Cludit amphibrachys : Q . Ligarium ut Africa fuisse , si non eum malumus esse bacchium . Non optimus est trochaeus , si ulla est ultima brevis , quod certe sit necesse est ; alioqui quomodo claudet , qui placet plerisque , dichoreus ? Illa observatione ex trochaeo fit anapaestus .
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The amphibrachys may close the cadence, as in Q. Ligarium in Africa fuisse, although in that case some will prefer to call it a bacchius. The trochee is one of the less good endings, if any final syllable is to be regarded as short, as it undoubtedly must be. Otherwise how can we end with the dichoreus, so dear to many orators? Of course, if it be insisted that the final syllable is long, the trochee becomes an anapaest. |
| 2883 |
Idem trochaeus praecedente longa fit paean , quale est Si potero et Dixit hoc Cicero , obstat inuidia . Sed hum initiis dederunt . Cludet et pyrrhichius choreo praecedente , nam sic paean est . Sed omnes hi , qui ut breves excidunt , minus erunt stabiles , nec alibi fere satis apti , quam ubi cursus orationis exigitur et clausulis non intersistitur . Creticus et initiis optimus :
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If preceded by a long syllable, the trochee becomes a paean, as is the case with phrases such as sipotero, or dirit hoc Cicero, or obstat invidia. But this form of paean is specially allotted to the beginnings of sentences. The pyrrhic may close a sentence if preceded by a choreus, thereby forming a paean. But all these feet which end in short syllables will lack the stability required for the cadence, and should as a rule only be employed in cases where speed is required and there is no marked pause at the ends of the sentences. |
| 2884 |
Quod precatus a diis immortalibus sum , et clausulis : In conspectu populi Romani vomere postridie . Apparet vero , quam bene eum praecedant vel anapaestos vel ille , qui videtur fini aptior , paean . Sed et se ipse sequitur : Servare quam plurimos . Sic melius quam choreo praecedente , Quis non turpe duceret ? si ultima brevis pro longa sit ; sed fingamus sic , Non turpe duceres .
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The cretic is excellent, both at the beginning (e.g. quod precatus a diis immortalibus sum ) and at the close (e.g. in conspeclu populi Romani vomere postridie ). The last example makes it clear what a good effect is produced when it is preceded by an anapaest or by that form of paean which is regarded as best suited to the end of a sentence. But the cretic may be preceded by a cretic, as in servare quam plurinos. It is better thus than when it is preceded by a chores, as in quis non turpe duceret? assuming that we treat the final short syllable as long. However, for the sake of argument, let us substitute duceres for duceret. |
| 2885 |
Sed hic est illud inane , quod dixi : paulum enim morae damus inter ultimum ac proximum verbum et turpe illud intervallo quodam producimus ; alioqui sit exultantissimum et trimetri finis : Quis non turpe duceret ? Sicut illud Ore excipere liceret , si iungas , lascivi carminis est ; sed interpunctis quibusdam et tribus quasi initiis fit plenum auctoritatis .
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Here, however, we get the rest of which I spoke: for we make a short pause between the last word and the last but one, thus slightly lengthening the final syllable of turpe; otherwise quis non turpe duceret? will give us a jerky rhythm resembling the end of an iambic trimeter. So, too, if you pronounce ore excipere liceret without a pause, you will reproduce the rhythm of a licentious metre, whereas if triply punctuated and thus provided with what are practically three separate beginnings, the phrase is full of dignity. |
| 2886 |
Nec ego , cum praecedentes pedes posui , legem dedi ne alii essent , sed quid fere accideret et quid ut praesentia videretur optimum , ostendi . Non quidem optime est sibi iunctus anapaestos , ut qui sit pentametri finis , vel rhythmos qui nomen ab eo traxit : Nam ubi libido dominatur , innocentiae leve praesidium est ; nam synaloephe facit , ut duae ultimae syllabae pro una sonent .
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In specifying the feet above-mentioned, I do not mean to lay it down as an absolute law that no others can be used, but merely wish to indicate the usual practice and the principles that are best suited for present needs. I may add that two consecutive anapaests should be avoided, since they form the conclusion of a pentameter or reproduce the rhythm of the anapaestic metre, as in the passage, nam ubi libido dominatur, innocentiae leve praesidinun est, where elision makes the last two syllables sound as one. |
| 2887 |
Melior fiet praecedente spondeo vel bacchio , ut si idem mutes leave innocentiae praesidium est .Non me capit ( ut a magnis viris dissentiam ) paean , qui est ex tribus brevibus et longa . Nam est et ipse una plus brevi anapaestos facilitas et agilitas .Quid ita placuerit is , non video , nisi quod illum fere probaverunt , quibus loquendi magis quam orandi studium fuit .
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The anapaest should preferably be preceded by a spondee or a bacchius, as, for instance, if you alter the order of words in the passage just quoted to leve innocentiae praesidium est. Personally, although I know that in this I am in disagreement with great writers, I am not attracted by the paean consisting of three shorts followed by a long: for it is no more than an anapaest with the addition of another short syllable (e.g. facilitas, agilitas ). Why it should have been so popular, I cannot see, unless it be that those who gave it their approval were students of the language of common life rather than of oratory. It is preferably preceded by short syllables, |
| 2888 |
Nam et ante se brevibus gaudet pyrrhichio vel choreo , mea facilitas , nostra facilitas ; ac praecedente spondeo tamen plane finis est trimetri , cum sit per se quoque . Ei contrarius principiis merito laudatur , nam et primam stabilem et tres celeres habet . Tamen hoc quoque meliores alios puto .
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such as are provided by the pyrrhic or the choreus (e.g. mea facilitas, nostra facilitas); on the other hand, if it be preceded by a spondee, we have the conclusion of an iambic trimeter, as indeed we have in the paean considered alone. The opposite form of paean is deservedly commended as an opening: for the first syllable gives it stability and the next three speed. None the less I think that there are other feet which are better suited for this purpose than even this paean. |