38. 39. 40. 41. 42. 43. 44. Hybla florum vestem sparge, No. 28, 28, 28, 14. Deus, laudes in Sione manent te, No. 28, 28, 28, 14. Quique tam præsens supplicantûm tibi No. 28, 28, 28, 14. Tu, potens rerum pollens validisque No. 28, 28, 28, 14. No. 28, 28, 28, 14. Ultimi rerum signa tua nôrunt, No. 28, 28, 28, 14. In semen agros. No. 28, 28, 28, 14. 45. 46. 47 48. 49. 50. 51. 52. No. 28, 28, 28, 14. b. Tu maceras rore leni sola contumacis Sulcos ebrios amictu viridante Inumbras messis. No. 28, 28, 28, 14. Quà feres gressus, annum renovabis No. 28, 28, 28, 14. Pauper tigurii (apoc.) colonus gestiet, No. 28, 28, 28, 14. Spes cupidas aratoris fovebit Fluctuans latis campis seges alma ; · In umbrâ carmen. No. 34, 34, 34, 35. Quid frustrà rabidi canes petitis me? No. 34, 34, 34, 35. Per mitia pabula viridis campi, Quæ amœnitas teneri veris pingit, Nunc pascor placidè, nunc latus saturum No. 34, 34, 34, 35. Rivus puræ aquæ leniter astrepens Et spiritus recreat blando fomite Sub face torridâ solis. No. 34, 34, 34, 35. Cùm peteret mens vaga devios saltus, 53. 54. 55. 56. 57. 58. 59. Bonus retraxit, denuo me miserans, No. 34, 34, 34, 35. Nec si luctificâ manu per trepidas intentet Formidem pergere, te duce, me pedo No. 34, 34, 34, 35. Tu accumulas mensas epulis; merum Dum spectant anxius dolor. No. 34, 34, 34, 35. No. 40, 40, 23, 42. Tecum alta Virtus sedet laurigeram No. 17. Poëtæ veteres fabulantur Protea Fuisse quendam, qui verteret se in omnes No. 41. Unica gens No. 29. Quæ faciunt vitam beatiorem, Hæc sunt, Martialis iucundissime ; sists of the second epitrit, two choriambi, and a bacchic; as, Té děōs ōrō Sybărin | cür propĕrēs ǎmandō. Horat. 34. The Asclepiadic tetrameter, invented by the poet Asclepiades, consists of a spondee, two choriambi, and an iambus; as, Mæcē nās ǎtǎvis | ēdítě rē gibūs. Horat. The first foot of this verse is sometimes a dactyle; as, Effugium et miseros liběră mōrs vocet. Seneca. This method of scanning the Asclepiadic may be considered as the most correct: it has, however, been sometimes scanned in a different manner, the first foot being made a spondee, the second a dactyle followed by an odd syllable, and the last two feet dactyles; as, Mæcē nās ǎtǎ vîs | ēdítě | rēgĭbūs. Horat. 35. The choriambic trimeter or Glyconic consists of three feet, the first a spondee, an iambic, or a trochee, the second a choriambus, and the third an iambic; as, 36. The choriambic trimeter catalectic or Pherecratic is the Glyconic deprived of its final syllable, and sometimes having an anapest in the first foot; as, 38. The ionic a majore or. Sotadic consists of three ionics a majore and a spondee: the ionic feet are, however, frequently changed into dichorees, and a long syllable into two short syllables; as, Vocalía quædam měmo rant consonă | quædam. Terentian. Hās cum gěmi nā cōmpědě | dedicat că tēnās, Sātūrně, tibi Zōĭlus, | annŭlōs prĭōrēs. Martial. 39. The ionic a minore consists of three or four feet, which are all ionics a minore; as, Puĕr ālēs tibi tēlās | opěrōsa que Minērvæ. Horat. COMPOUND METRES. 40. The greater Alcaic consists of two iambic feet, which are sometimes changed into spondees, and an odd syllable, followed by a choriambus and an iambus; as, Vides ut alta | stēt nĭvě candidūm, Horat. 41. The Archilochian heptameter consists of the dactylic tetrameter a priore, followed by three trochees; as, Nunc děcět aut viri di niti dūm căpăt | impě dirě | mỹrto. Horat. 42. The dactylico-trochaic tetrameter or lesser Alcaic consists of two dactyles, followed by two trochees; as, Lēviǎ pērsonu¦ērē | sāxă. Horat. The preceding account of the metres in the most common use among the Latin poets will, it is presumed, be found both comprehensive and accurate. The student, who is desirous of more extensive information on this subject, may consult with advantage Carey's Latin Prosody. In their lyric compositions, the Latin poets seldom confined themselves to one species of verse, but, for the sake of greater variety and harmony, they generally introduced two, and sometimes three different measures into the same ode. This change of metre is found in almost all the lyrics of Horace, and has contributed much to the beauty of his poetry. The first thirty of the following exercises are designed to be scanned; the succeeding thirty-four require the order of the words to be changed, in order to the lines being formed into verses; the remaining exercises are intended to be translated. The figures prefixed to the exercises refer to the metrès of the verses contained in them. |