Each verse
falls into two halves corresponding to the forward swing and the recoil
of the dance.
falls into two halves corresponding to the forward swing and the recoil
of the dance.
Oxford Book of Latin Verse
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.
The first poets, then, are the priests. But behind the priests are the
people--moved by the same religious beliefs and fears, but inclined, as
happens everywhere, to make of their 'holy day' a 'holiday'. And hence a
different species of poetry, known to us chiefly in connexion with the
harvest-home and with marriage ceremonial--the so-called Fescennine
poetry. This poetry is dictated by much the same needs as that of the
priests. It is a charm against _fascinum_, 'the evil eye': and hence the
name Fescennine. The principal constituent element in this Fescennine
poetry was obscene mockery. This obscenity was magical. But just as it
takes two to make a quarrel, so the obscene mockery of the Fescennine
verses required two principals. And here, in the improvisations of the
harvest-home, we must seek the origins of two important species of Latin
poetry--drama and satire.
There was magic in the house as well as in the fields.
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.
The first poets, then, are the priests. But behind the priests are the
people--moved by the same religious beliefs and fears, but inclined, as
happens everywhere, to make of their 'holy day' a 'holiday'. And hence a
different species of poetry, known to us chiefly in connexion with the
harvest-home and with marriage ceremonial--the so-called Fescennine
poetry. This poetry is dictated by much the same needs as that of the
priests. It is a charm against _fascinum_, 'the evil eye': and hence the
name Fescennine. The principal constituent element in this Fescennine
poetry was obscene mockery. This obscenity was magical. But just as it
takes two to make a quarrel, so the obscene mockery of the Fescennine
verses required two principals. And here, in the improvisations of the
harvest-home, we must seek the origins of two important species of Latin
poetry--drama and satire.
There was magic in the house as well as in the fields.
