The gods are most dreaded at the
seasons most important to a primitive people, seed-time, for example,
and harvest.
seasons most important to a primitive people, seed-time, for example,
and harvest.
Oxford Book of Latin Verse
He has his place.
But it is not in this Collection.
It is among
other memories, traditions, and aspirations, by the threshold of a world
where Vergil takes solemn and fated leave of those whom he has guided
and inspired:
Non aspettar mio dir più nè mio cenno.
I have spent a good deal of labour on the revision of texts: and I hope
that of some poems, particularly the less known poems, this book may be
found to offer a purer recension than is available elsewhere. I owe it
to myself, however, to say that I have sometimes preferred the
convenience of the reader to the dictates of a rigorous criticism. I
have thought it, for example, not humane to variegate the text of an
Anthology with despairing _obeli_: and occasionally I have covered up an
indubitable lacuna by artifices which I trust may pass undetected by the
general reader and unreproved by the charitable critic.
H. W. G.
_Oxford, Sept. 2, 1912. _
INTRODUCTION
I
Latin poetry begins where almost all poetry begins--in the rude
ceremonial of a primitive people placating an unknown and dreaded
spiritual world. The earliest fragments are priestly incantations. In
one of these fragments the Salii placate Leucesius, the god of
lightning. In another the Arval Brethren placate Mars or Marmar, the god
of pestilence and blight (_lues rues_).
The gods are most dreaded at the
seasons most important to a primitive people, seed-time, for example,
and harvest. The Salii celebrated Mars at seed-time--in the month which
bears his name, _mensis Martius_. The name of the Arval Brethren betrays
their relation to the gods who watch the sown fields. The aim of this
primitive priestly poetry is to get a particular deity into the power of
the worshipper. To do this it is necessary to know his name and to use
it. In the Arval hymn the name of the god is reiterated--it is a spell.
Even so Jacob wished to know--and to use--the name of the god with whom
he wrestled. These priestly litanies are accompanied by wild dances--the
Salii are, etymologically, 'the Dancing men'--and by the clashing of
shields. They are cast in a metre not unsuited to the dance by which
they are accompanied. This is the famous Saturnian metre, which remained
the metre of all Latin poetry until the coming of the Greeks. Each verse
falls into two halves corresponding to the forward swing and the recoil
of the dance. Each half-verse exhibits three rhythmical beats answering
to the beat of a three-step dance. The verse is in the main accentual.
But the accent is hieratic. The hieratic accent is discovered chiefly in
the first half of the verse: where the natural accent of a disyllabic
word is neglected and the stress falls constantly on the final
syllable. [2] This hieratic accent in primitive Latin poetry is
important, since it was their familiar use of it which made it easy for
the Romans to adapt the metres of Greece.
other memories, traditions, and aspirations, by the threshold of a world
where Vergil takes solemn and fated leave of those whom he has guided
and inspired:
Non aspettar mio dir più nè mio cenno.
I have spent a good deal of labour on the revision of texts: and I hope
that of some poems, particularly the less known poems, this book may be
found to offer a purer recension than is available elsewhere. I owe it
to myself, however, to say that I have sometimes preferred the
convenience of the reader to the dictates of a rigorous criticism. I
have thought it, for example, not humane to variegate the text of an
Anthology with despairing _obeli_: and occasionally I have covered up an
indubitable lacuna by artifices which I trust may pass undetected by the
general reader and unreproved by the charitable critic.
H. W. G.
_Oxford, Sept. 2, 1912. _
INTRODUCTION
I
Latin poetry begins where almost all poetry begins--in the rude
ceremonial of a primitive people placating an unknown and dreaded
spiritual world. The earliest fragments are priestly incantations. In
one of these fragments the Salii placate Leucesius, the god of
lightning. In another the Arval Brethren placate Mars or Marmar, the god
of pestilence and blight (_lues rues_).
The gods are most dreaded at the
seasons most important to a primitive people, seed-time, for example,
and harvest. The Salii celebrated Mars at seed-time--in the month which
bears his name, _mensis Martius_. The name of the Arval Brethren betrays
their relation to the gods who watch the sown fields. The aim of this
primitive priestly poetry is to get a particular deity into the power of
the worshipper. To do this it is necessary to know his name and to use
it. In the Arval hymn the name of the god is reiterated--it is a spell.
Even so Jacob wished to know--and to use--the name of the god with whom
he wrestled. These priestly litanies are accompanied by wild dances--the
Salii are, etymologically, 'the Dancing men'--and by the clashing of
shields. They are cast in a metre not unsuited to the dance by which
they are accompanied. This is the famous Saturnian metre, which remained
the metre of all Latin poetry until the coming of the Greeks. Each verse
falls into two halves corresponding to the forward swing and the recoil
of the dance. Each half-verse exhibits three rhythmical beats answering
to the beat of a three-step dance. The verse is in the main accentual.
But the accent is hieratic. The hieratic accent is discovered chiefly in
the first half of the verse: where the natural accent of a disyllabic
word is neglected and the stress falls constantly on the final
syllable. [2] This hieratic accent in primitive Latin poetry is
important, since it was their familiar use of it which made it easy for
the Romans to adapt the metres of Greece.
