VIII. -re, -ris, -ta, -tis: as, altāre, sălūtāris, monēta, immītis. Exc. măre, hĭlăris, rota, nota, sītis, potis, and most nouns in -ĭta. IX. -tim, -tum, and syllables beginning with v: as, prīvātim, quercētum, ŏlīva. Exc. affătim, stătim; nĭvis (nix); brěvis, grăvis, lĕvis (light); nõvus, nõvem ; and several verb-roots: as, jŭvo, făveo. x. -dex, -lex, -mex, -rex, -dix, -nix, and the numeral endings -ginti, -gintā: as, jūdex, ilex. Exc. cùlex, sílex, rùmex. 6. The following terminations are preceded by a short vowel: I. -cus, -dus, -lus: as, rusticus, călĭdus, glădiŏlus. Exc. ŏpācus, ămīcus; apricus, ficus, mendicus, pudicus; fidus, nīdus, sīdus; and ū before -dus: as, crūdus, nūdus; ē before -lus, as phăsēlus (except gělus, scělus); ăsīlus. II. -no, -nor, -ro, -ror, in verbs: as, destino, criminor, gero, queror. Exc. festino, pròpino, săgīno, Ŏpinor, inclīno; dēclāro, spēro, spīro, ōro, duro, miror. III. -ba, -bo, -pa, -po: as, făba, bíbo, lupa, crěpo. Exc. glēba, scrība; būbo, nūbo, scribo; pāpa, pūpa, rīpa, scōpa, stūpa; cāpo, rēpo, stīpo. IV. -tas (in nouns), -ter and -tus (in adverbs): as, cīvĬtas, fortiter, penitus. The above rules and exceptions include all Latin words in common use. 79. FEET. The most natural division of musical time is into intervals, consisting of either two or three equal parts. In music, this is called double or triple time. These intervals are in music called Measures; in prosody, they are called Feet; and the parts are indicated by the number or length of the syllables of which the feet consist. The feet most frequently employed in Latin poetry, with their musical notation, are the following: — Feet of four syllables are combinations of those of two. The following only require special notice. The first, second, third, or fourth Epitritus has a short syllable in the first, second, third, or fourth place, with three long syllables. The first, second, third, or fourth Paeon has a long syllable in the first, second, third, or fourth place, with three short syllables. NOTE. - Narrative poetry was written for rhythmical recitation, or chant; and Lyrical poetry for rhythmical melody, or music, often to be accompanied by measured movements, or dance. But in reading, it is not usual to keep the strict measure of time; and often the accent is substituted for rhythm, as in prose. The accented syllable of each foot is called the Arsis; and the unaccented part, the Thesis. Accent, in prosody, is called Ictus, that is, the beat of the foot, as in dancing. A rhetorical pause occurring within the limits of a verse is called Cæsu'ra. The position in the verse of the principal Cæsura is important, as affecting the melody or rhythm. It usually falls in hexameter after the Arsis, or accented syllable, of the third or fourth foot in the verse. NOTE. In modern poetry, even in modern Greek, quantity is disregarded, and the names of ancient feet are applied to combinations of accented and unaccented syllables. Thus fully and foolish are both called Trochees, although the quantity of fully is ; so impel and impale are both called Iambs. It is difficult, therefore, to imitate well in modern verse those Latin metres which contain two or three long syllables in succession, because accents seldom come naturally on successive syllables. ^^ Owing to this disregard of quantity by the modern ear, the easiest way for a modern reader to get a peculiar melody from Latin verse is to accent (in verse) every long syllable, and no short Thus as prose the second verse of "Integer Vita" would be accented thus: one. 66 non éget Máuris jáculis néque árcu : while in poetry it is to be accented thus: "nón egét Máurís jaculís nequ' árcu," like the free rendering in English: “néedeth nót bów, spéar, nor a rattling quíver." A single line in poetry is called a Verse. To divide the verse in reading into its appropriate feet, according to the rules of quantity and versification, is called Scanning, that is, a climbing, or advance by steps. A verse lacking a syllable at the beginning is called Acephalous; lacking a syllable at the end it is called Catalectic. NOTE. It is recommended that the student should habitually scan every verse he meets in the course of his study. In reading or recitation, while the prose accent should be retained, the flow of the verse may be in some degree preserved by due attention to the rules of quantity. This is called Metrical Reading. In scanning, a vowel or diphthong at the end of a word sometimes even at the end of a verse is dropped, when the next word begins with a vowel or with h. This is called Synalopha, or Elision; or, at the end of a verse, Synapheia. A final m, with the preceding vowel, is dropped in like This is called Ecthlipsis. manner. Hence a final syllable in m is generally reckoned to have no quantity of its own; its vowel, in any case, being either elided or else made long by position. Elision is sometimes omitted when the final syllable has a special emphasis, or is succeeded by a pause. This is called Hiatus. A final syllable, regularly short, is sometimes lengthened before a pause. It is then said to be long by Cæsura. The last syllable of any verse may be indifferently long or short. 81. METRE. Metre is a regular combination of feet in verse, and is named from its most frequent or ruling foot, as Dactylic, Iambic, Trochaic, Anapæstic. The ruling foot, so called, always consists of a combination of long and short syllables, and is therefore never a pyrrich or spondee. A Verse consists of a given number of feet arranged metrically. It is named from the number of feet it contains, as Hexameter, Trimeter. A Stanza consists of a definite number of verses ranged in a fixed order. It is often called from the name of some favorite poet, as Sapphic, Alcaic, Horatian. 82. FORMS OF VERSE. The most common forms of Latin verse are these: I. The Dactylic Hexameter, called also Heroic verse, used in narrative and pastoral poetry. It consists of six feet, of which the last is always a Spondee, the fifth generally a Dactyle, and the rest indifferently spondees or dactyles. When the fifth foot is a spondee, the verse is called Spondaic. The introductory verses of the Eneid, divided according to the foregoing rules, will be as follows, the principal Cæsura in each verse being marked by double lines: ārmă vi|rūmquè că|nō || Trō|jae quï | prīmŭs ǎb | ōrīs Itǎlījām fā tō profŭ gūs || La|vinăquě | vēnīt lītŏră, | mūlť' ill' | ēt tēr rīs || jā|ctātus ĕt | āltō vī sŭpě rūm sae|vae || měmõ|rēm Jū|nōnĭs ŏb | īram; multă quò qu' ēt bēl lō pās sūs || dūm | cōndĕrět | ūrbem, înfēr|rētque dělōs Lăti|ō, || gěnŭs | ūndě Lă|tīnum Albānīque pă|trēs, || āt|qu' altae | moeniă | Rōmae. The Hexameter verse has been illustrated in English thus: "Strongly it bears us along, in | swelling and | limitless billows, Nothing before and nothing behind, but the sky and the ocean." II. Dactylic Pentameter: consisting of five feet, and used alternately with the Hexameter, to form the Elegiac stanza. It is usually divided, in scanning, into two half verses, of which the latter always has two dactyles, and each ends in a single long syllable, or half-foot: as, cum subit illī ūs trīs tīssimă | nōctis imāgo quae mihi sūprē mūm || tēmpus în | ūrbě fuit, cum rěpětō nōctēm quā | tōt mìhĩ | cără rĕ|līquî, lābitur | ēx ŏcù|līs || nunc quòquè | gūttă měļīs. jām propě | lūx ădĕ|rāt, quā | mē dīs|cēdĕrě | Caesăr finibus extrē mae | jussĕrăt | Ausoniae. OV. TRIST. I. EL. 3, 1-6. The Elegiac Stanza has been illustrated thus: "In the hexameter rises the fountain's | silvery | column, |