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 University of Virginia- 
 
Cornell University Library 
 PA 2338 .F55S12 
 
 The sacred triouilju|J>|,, 
 
 3 1924 021 619 717 .u»-«i 
 
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 the Cornell University Library. 
 
 There are no known copyright restrictions in 
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 http://www.archive.org/details/cu31924021619717 
 
CARMEN A R VALE SEU 
 
 /> R T 
 
 S VERBER 
 
 
 tHM 
 
 I 
 
 £/v^oS|A^tJlvVATf 
 
 SATl//(rvrf«fMAHSLfM£fi5;.UiTAfif/?6fl^ 
 
 f a/ OS ji^A^Mo (^ fi/>/'k To 
 
 f rJoS MAH!Ao'< '^*'*''° 
 ^a/o S MX t^ N\o A< huhTO 
 
 T/^lv'M/'E 
 
 A CRYP.TOQHAPH OF THF SACRED S P E A F. -CV L'l ANO S ATU R N I A N -R I T U A L O F M A R S 
 
UNIVERSITY OF VIRGINIA PUBLICATIONS 
 
 BULLETIN OF THE PHILOSOPHICAL SOCIETY 
 
 HUMANISTIC SECTION 
 
 Vol. I, No. 1, pp. 1-50 September, 1910 
 
 MeyiCTTOi' yap tcrws apy^ tk/vtos , !!><nrip XiycTciL ' 8io /cat xaXeirmraTOV ' 
 otro) yap KpaTiarov Ty Svvdfiei , toctouto) fUKpoTarov ov tw fieytOeL p^aAeTrciTaTOJ' 
 ifTTiv 6<t>6rjvaL . Tavrriis 8' e.vpqyi.evq^ paov to irpoandival kol arvvav^ew no 
 Konrov Iffriv . 
 
 Aristotle, Sophistici Elenchi, 
 
 183 b22-26. 
 
 Neque vero tam sunt intuindi pedes quam universa comprehensio, ut 
 versum facientes totam illTim decursum, non sex vel quinque partes, ex' 
 quibus constat versus, adspiciunt: ante enim carmen ortum est quam 
 observatio carminis, ideoque illud Fauni vatesque canebant. 
 
 Quintiliaji, Inst. Orat IX. 4. 115. 
 
 INTEODUCTION. 
 
 The previous stages of this investigation into the origin and history 
 of Italico-Eomanic accent and rhythm have been published as follows: 
 
 1°. Rhythmical Alternation and. Coincidence of Accent and Ictus in 
 Latin Metric Art: A paper presented to the American Philological As- 
 sociation at the Chicago meeting, December 30, 1907 (P. A. P. A., Vol. 38). 
 
 In this paper the original announcement and demonstration of the 
 universality of the Latin Tripudic Accent and Tripudic Ehythm was sub- 
 mitted. The tripudic principle of the contrasted stress in thesis and arsis 
 does not permit the stressless (0) tone to function as either thesis or arsis. 
 Consequently A-0 implies either a precedent thesis or a subsequent arsis, 
 G both precedent and subsequent thesis :^ 
 
 1 ^ vLi I vL i o II i^^o 111^ 
 Livius Andr., Odys. I. 1 : Virum mihi Camena insece versutum 
 
 A-G A-G|A-A-G°||A=^-0-G| A-A-G 
 
 •Presented to the Humanistic Section of the University of Virginia Philosophical 
 Society, May 29, 1909. 
 
 'For symbols, see below, § 2. ' 
 
 [ 1 1 
 
1^ Aiv^lA^llii 1 ioc/li^ 
 Verg., Aen. I. 1: Arma virumque cano Troiae qui iDiimus ab oris 
 
 A-G A-A-G I A-G|| A-G A-A-G°-G | A-G 
 
 Ibid. I. l-±: Ostia dives opum studiisQue asperrima belli 
 A-O-G A-G I A-G II A - A A-A-O-G |A-G 
 
 2°. Prolegomena to the History of Italico-Romanic Rhythm, Universitj' 
 of Virginia, January 1, 1908: This monograph was published to supple- 
 ment the meagre statement in the Proceedings of the American Philological 
 Association, above referred to. 
 
 The principle of the Tripudic Accent was outlined, and the resulting 
 Accentuo-ictual Ehythm of Latin speech and verse was illustrated for the 
 whole history of Latin rhythm from the Carmen Arvale to Claudianus and 
 Boethius. It thus appeared that the Paenultima law of the Latin gram- 
 marians was a psychological illusion of Hellenizing phonetics, due to the 
 invariable duration of the penultimate accent, and that quantitative metric 
 was but a Hellenizing fashion of the unchanged Tripudic Ehythm of the 
 Sustained Stress in thesis and arsis. It followed that all problems of caesura 
 and of coincidence of accent and ictus are unreal, and that the tripudic 
 principle of the sustained and contrasted stress is their simple explanation, 
 requiring as it does that in the sustained rhythm all final grave stresses 
 (G) shall be strengthened as far as possible by bringing them under the 
 verse-beat. Hence the frequency of these gwasi-CEesuras in Latin versifi- 
 cation : the verse-beat is made to strengthen the final grave stress of the 
 tripudic foot, so as to exclude as far as possible the unsustained arsis 
 from the sustained rhythm; thus the arsis of the Latin tripudic foot 
 becomes characteristically the thesis of the Greek quantitative foot, in order 
 that the necessary tripudic rhythm may be strengthened by the verse-beat 
 of the quantitative measure. 
 
 3°. Carmen Arvale sen Martis Terber, or the Tonic Laws of Latin 
 Speech and Rhythm: Supplement to the Prolegomena to the History of 
 Italico-Romanic Rhythm, Bulletin of the School of Latin, University of 
 Virginia, November 1, 1908. 
 
 This monograph announced the discovery of the key to the problem 
 of the Carmen Arvale in the Stayed Spear-point and Sacred Tripudium 
 of the War-god. Thus the connection was revealed between the rhythmic 
 and the religious norm of the Latin race. Accordingly, the principle of 
 the tripudic accent (Ictuum Descensio) was substituted for the inadequate 
 generalization of the Trisyllabic law, and the principle of tripudic rhythm 
 
 -[ 2 ] 
 
(Ictuum Suhlatio), with its contrast of acute thesis and acute or grave 
 arsis, for the barren and irrelevant incident of Hellenizing quantity. 
 
 G-G and G-A-0 reverse the order of the tripudic thesis and arsis. 
 Consequently, they can only occur in the tripudic foot when they' are pre- 
 ceded by the powerful initial thesis (A2=A-A) or by the double accent 
 (A-A) : in such position, G-G=G°-G, and G-A-0=G°-A-0. 
 
 lo A 1 M/ lAill 1 i ± 1 ^ ol ii 
 Verg. Aen. I. 1 : Arma virumque cano Troiae qui primus ab oris 
 
 A-G A-A-G |A-G || A-G A-A-G G |A-G 
 
 = A-A-G°-G 
 
 i W * I 1 1 ^ llw • V..^ i Iv..^, I i^ 
 
 Ibid. VIII. 687: Victor ab Aurorae populis et litore rubro 
 A^-G G I A-A-G II A-G A-A-0-G| A-G 
 =A^-G°-G 
 
 Accordingly, the evolution of Latin rhythmic art was traced in the 
 history of the G-G, G-A-0, and phenomena to the last infirmity of classic 
 art as satirized by 'Horace, which consisted in the intrusion of the 0-tone 
 within the zone of the strongly sustained rhythm : — 
 
 Hor., A. p. 263: Non quivis videt immodulata poemata iudex 
 A-A-G I A-A-O-O-A-6 ||A-A-0-G|A-G 
 
 Thus modulatio means the proper arranging of the tripudic feet. 
 
 4°. The Pre-acute, Acute, Grave, and Zero Stress in Latin Speech and 
 Rhythm: A paper read before the joint session of the American Philolog- 
 ical Association and Archaeological Institute of America at the Toronto 
 meeting, December 30, 1908 (P. A. P. A., Vol. 39). 
 
 This paper was a fundamental resume of the laws of Tripudic Accent 
 and Tripudic Ehythm as against the traditional laws of Hellenizing 
 grammar : — 
 
 I. The Tripudic Accentual System implies an acute initial stress de- 
 scending rhythmically to a grave final stress : Ictuum Descensio. 
 
 II. The Tripudic Khythmic System implies an acute thesis descending 
 at liberty to a grave stress in arsis, but not to a stressless arsis : , Ictuum 
 Sublatio. 
 
 The Carmen Arvale was found to be a magical and religious cryptograph 
 of the sacred symbol and tripudium of Mars: the history of the Epic 
 Tripudium was accordingly traced from the Carmen Arvale and earliest 
 lustrations of Mars to the consummate art of the Augustan era and the 
 Vergilian hexameter. 
 
 [ 3 ] 
 
5° The Carmen Arvale: A Cryptograph of the Sacred Spear and 
 Tripudium of Mars: A paper read before the ArchEeological Institute of 
 America at the Toronto meeting, December 31, 1908 (A. J. A., Vol. 13, 
 ^"0. 1). 
 
 The determination of the rhythmic relations of the five-times repeated 
 Triumpe at the close of the Carmen Arvale revealed the sacred symbolism 
 of the ancient hymn, which at once took shape as a magical and religious 
 glorification, on the earliest dawn of history, of the spear-symbol and 
 tripudic ritual of Mars. Thus the key to the meaning of the monument 
 was discovered, and its anthropological and culture-historical significance 
 clearly revealed : it exhibits the magical and religious impulse as the fruit- 
 ful primitive source of poetry, song, and the dance. 
 
 The aim of this introductory Bulletin of the Latin School is to gather 
 together these results, and present to the consideration of scholars the 
 doctrine that the magical and sacred Tripudium of immemorial tradition 
 was and continued to be the accentual and rhythmic norm of Italico- 
 Eomanic speech and verse. What I wish to submit to the criticism of my 
 fellow-workers is practically an introductory chapter in the history of Latin 
 accent and versification. Subsequent Bulletins will extend the discussion 
 to our epic, lyric, and dramatic tradition, and finally to the history of the 
 tripudic accent of Latin speech and the tripudic rhythm of artistic prose. 
 
 I 4 
 
THE SACEED TRIPUDIUM. 
 
 Caesius'Bassus and Meteioal Pragmatism. 
 
 The sciences of culture-history, above all others, have found their pole- 
 star of method in the evolutionary doctrine of Heraclitus, while they have 
 relegated to a purely subsidiary relation in scientific inquiry the static 
 doctrine of the Eleatics. The all-important problem of humanistic inquiry 
 is to trace the historical process, the successive stages of which are mapped 
 out in the statistics provided by the static method. Thus static analysis 
 is merely the hod-carrier of historical investigation, whose essential task 
 is to follow the stream of human changing, and to determine the genetic 
 relations of the successive cross-sections of phenomena. From such chrono- 
 logical observation of the phenomena of being, there emerges the dynamic 
 law of becoming, which is the final goal of culture-historical inquiry. 
 
 Axiomatic as the evolutionary standpoint in general has become in 
 humanistic investigation, the assertion of the historical over against the 
 static standpoint in the study of ancient accent and rhythm has been accom- 
 plished but slowly and painfully under the auspices of a traditional ortho- 
 doxy, which from the days of Caesius Bassus and his Neronian coterie has 
 too often encouraged ingenious guessing in place of scientific inquiry; 
 cf. Caesius Bassus on his predecessors, Keil, Grammatici Latini VI. 265. 9. 
 
 The Stress Laws oe Latin Speech and Verse. 
 
 I. The Tripudic Accentual System of Latin Speech and Verse. 
 
 § 1. Critical examination of the phenomena of Latin versification 
 reveals to us a stress accent for Latin speech, and not an accent of mere 
 musical elevation like that of early and classic Greek. These same 
 phenomena, moreover, reveal the fact, that Latin accent falls rhythmically 
 in Latin speech from the beginning to the end of the word-foot, and not 
 arrhythmically as in Greek. The magical and sacred Tripudium (triple- 
 tramp) in its several forms is the accentual norm of Latin speech, and the 
 rhythmic norm of Latin verse: it is an arsisless measure, in which a pri- 
 mary acute thesis is contrasted with a secondary acute or grave stress in 
 arsis. 
 
 Tripudic rhythm is a rhythm of contrasted stress. In the tripudium 
 sollistimum the double acute stress is followed by the weaker grave stress : 
 
 Triumpe incurrere advocabitis 
 A-A-G° A-A-0-G° A-0-A-0-G° 
 
 [ 5 ] 
 
In the ordinary or shortened tripudinm the single acute stress is followed 
 by the stronger grave stress : 
 
 Scipio Lares neve cunctos facile subigit omnia. 
 A-O-G A-G A-G A-G A G A 6 A-O-G 
 
 Thus the strong grave stress G belongs in the arsis, and therefore the 
 tripudic verse-foot can only be reversed and violated when G is followed 
 by G instead of A-G, or when G is followed by A-0 instead of A-G. On 
 the other hand, when G follows the double accent (A-A) or the powerful 
 initial thesis of the rhythmic series (A^=A-A) it is weakened to G°, and 
 admits a following G or A-0 without rhythmic reversal or violation. Thus 
 the tripudic accentual system of Latin speech determines the laws of the 
 tripudic rhythmic system of Latin verse. Those laws are two in nimiber : 
 
 I. The strong grave stress G (catalexis) in the expanded tripudium 
 must not be followed by G (catalexis), but only by A-A (procatalexis) or 
 A-G (paracatalexis). 
 
 II. The strong grave stress G (catalexis) in the expanded tripudium 
 must not be followed by A-0 (acatalexis), but only by A-A (procatalexis) 
 or A-G (paracatalexis). 
 
 The Thipudic Accentual System: Ictuum Descensio. 
 
 § 2. Latin Accent. — Let us use for convenience of statement the follow- 
 ing symbols : 
 
 A = The Latin accent, initial and medial acute stress, craving a 
 syllabic basis of a long or two shorts : — 
 
 advocabitis 
 A-0-A-0-G° 
 
 ineptire 
 A-A-G° 
 
 J- \^ ^ J. \«/ o 
 
 Scipio omnia 
 A-O-G A-O-G 
 
 facile 
 
 superasses 
 A-A-G° 
 
 subigit 
 
 1 ± i 
 
 Semones 
 
 A-A-G° 
 
 11^ 
 
 Triumpe 
 
 A-A-G° 
 
 sinas 
 
 A-G A-G A-G 
 
 mare 
 
 Mars 
 A 
 
 arma 
 A-G 
 
 censor 
 A-G 
 
 facilius 
 A-A-G° 
 
 1 ^ i.^ 
 
 imperator. 
 
 A-0-A-G° 
 
 = The Latin stressless tone, a medial weak grave tone between stressed 
 tones : see illustrations above. 
 
 [ 6 ] 
 
6 = The Latin grave stress, at the end of the vocable and in relational 
 monosyllables (ab, ad, ob, que, ve, etc.). It requires a syllabic basis of but 
 a short, and presupposes but a single antecedent acute stress. When pre- 
 ceded by a double acute stress (A-A) or by the powerful initial thesis of the 
 rhythmic series (A^ = A-A), it may weaken at will to G°, according to the 
 requirement of the rhythmic context : see illustrations above. 
 
 The phonetic obtrusiveness of the acatalectic (A-0) and penultimate 
 (A-G°) tones is due to the invariable length of their accentual element 
 and to the weakness of the and G° elements and not to any other 
 accentual superiority of this A-tone over other accentual positions (procata- 
 lectic or paracatalectic : A-A-G° or A-G). Hence, however, arose the 
 illusion of Hellenizing grammar in the so-called Trisyllabic Law: the 
 relatively invariable duration of the penultimate accent caused the less 
 favored initial accent to be ignored by comparison. 
 
 Teipudic Nombnclatuhb. 
 
 § 3. Terminology. — The following characterizations taken from the 
 terminology of Greek metric furnish the nearest approximations to the 
 phenomena of Latin accent: 
 
 Catalexis = G : e.g. ab, que, and final syllables in viro, facile. 
 Paracatalexis = A-G : e.g. arma, viro, facile, consul. 
 Procatalesis = A-A-G : e.g. Triumpe, Camena, versutum. 
 
 J- ^^ J. .1. J. ^^ \£/ 
 
 Acatalexis = A-0 : e.g. first two syllables in imperator, insece. 
 
 It is apparent that the sustained tone in its' several varieties and posi- 
 tions of catalexis, paracatalexis, procatalexis, and acatalexis is characteristic 
 of Latin speech, and therefore of Latin verse. 
 
 Teipudio Vaeieties. 
 
 § 4. The Tripudia,. — The Latin tripudium assumes two varieties : 
 A. The Sustained Tripudium. 
 
 vLio l±i 11^^ 
 a. Procatalectic : Triumpe, versutum, incurrere, 
 
 A-A-G A-A-G A-A-O-G 
 
 — • •-• — \^ ^^ •— • ^ J— Jim \^ O 
 
 Semones, superare, qui primus ab. 
 A-A-G A-A-G A-A-O-G 
 
 [ 7 1 
 
(8. Paracatalectic : Lares, Marmar, facile, subigit, 
 A-G A-G A-G A-G 
 
 neve, memorem, censor. 
 A-G A-G A-G 
 
 B. The Unsnstainecl Tripudinni. 
 
 y. Acatalectic: imperator, advocabitis, tempestates, 
 A-O-A-G A-0-A-O-G A-O-A-G 
 
 1 w ^ 
 
 J. \./ \:/ 
 
 J. v-/ O 
 
 Scipio, 
 
 omnia, 
 
 msece. 
 
 A-O-G 
 
 A-O-G 
 
 A-O-G 
 
 Accordingly, two laws characterize the rhythm of the tripudium : G is not 
 followed by G or by A-0 within thu limits of the same tripudic verse-foot. 
 
 The Teipudio Ehythmic System : Ictuum Sublatio. 
 
 II. The Tripudic Rhythmic System of Latin Verse. 
 
 § 5. Latin tripudic rhythm is therefore a rhytlmi of contrasted stress, 
 to which the Greek stressless arsis is utterly foreign. It has no relation to 
 quantity. Its only rhythmic laws are the two prohibitions of G-G and 
 G-A-0, which reverse the order of tones in the tripudic foot. Its only 
 rhythmopoeic instrumentalities are those afforded by the double accent 
 (A-A) and its equivalent, the powerful initial accent (A^=A-A) of any 
 rhythmic series. Those instrumentalities lie in the power of the double 
 accent and the initial thesis to convert G-G into G°-G, and G-A-0 into 
 G°-A-0, and thus to render the unrhythmical sequences rhythmical. 
 
 Latin rhythm is accordingly a rhythm of procatalectic, paracatalectic, 
 and acatalectic tripudia, so arranged as to prevent the sequences G-G and 
 G-A-0 within the limits of any tripudic verse-foot, or to convert them into 
 G°-G and G°-A-0 respectively. Catalexis must not be followed by catalexis 
 or acatalexis, unless itself precede^l by the double accent or by the initial 
 thesis of the dipodic series. 
 
 The Sacred Speak and TKiPUDiLii. 
 
 III. The History of the Sacred Tripudium. 
 
 § 6. The Carmen Arvale. — At the dawn of our tradition tripudic 
 rhythm appears in\ested witli magical and sacred significance in connection 
 
 [ 8 I 
 
with the lustrations of Mars. The rhythm of the triple-tramp, like the 
 spear, is sacred to the war-god, and the Carmen Arvale is a glorification of 
 the two attributes of the national numen: A. J. A. 13. 64; P. A. P. A. 39. 
 The tripudie principle furnishes the key to the correct rhythmical grouping 
 of the five repetitions of the sacred tripudium Triumpe at the close of the 
 dance-hymn, and reveals the otherwise hidden symbol of the inverted 
 spear-point : 
 
 Enos Lases iuvate 
 
 Enos Lases iuvate 
 
 Enos Lases iuvate 
 
 Neve luem ruem Marmar sinas incurrere in pleoris 
 
 ISTeve'luem ruem Marmar sinas incurrere in pleoris 
 
 Neve luem ruem Marmar sinas incurrere in pleoris 
 
 Satur fure fere Mars limen sali sta verber 
 
 Satur fure fere Mars limen sali sta verber 
 
 Satur fure fere Mars limen sali sta verber 
 
 Semunis alternei advocabitis conctos 
 
 Semunis alternei advocabitis conctos 
 
 Semunis alternei advocabitis conctos 
 
 Enos Marmar iuvato 
 
 Enos Marmar iuvato 
 
 Enos Marmar iuvato 
 
 Triumpe Triumpe 
 
 Triumpe Triumpe 
 
 Triumpe 
 
 "Help us, Lares, and suffer not, Marmar, blight and ruin to fall upon 
 too many. Eage thy full, dread Mars, leap on the threshold, stay thy 
 spear-thrust. Call ye in turn to our aid all the Semones. Help us, 
 Marmar. Triumpe !" 
 
 The Mas Stkbpitus Fidis Latixae. 
 
 § 7. An examination of the rhvtlmi reveals the fact that the venerable 
 monument is also a glorification of the sacred leap-step or triple-tramp of 
 the national god. The spear-point ends in the sacred word, as the dance 
 concludes with the sacred leap-step : 
 
 I 1. ^ 
 
 Triumpe ! 
 
 A-A-G 
 
 [ ] 
 
The rhythm of this sacred cry is the incarnate mood of Eome and Mars. 
 It recurs again in the sacred prayer 
 
 1 
 Mars 
 
 vig 
 
 Ua! 
 
 A 
 
 A- 
 
 G 
 
 Tt is the tripudium sollistimum, or Coryphsens of Latin verse-feet, the 
 rhythmopoeic modulator and arbiter of the Latin Muse. It consists of two 
 acute and one grave stress, and is therefore a foot with three theses, two 
 acute and one grave, and no arsis in the Greek sense: it is "thesis-mad," 
 as some witty Greek seems to have called it (Diomedes, Keil I. 479). Ac- 
 cordingly, Latin rhythm may be characterized as an arsisless rhythm of 
 contrasted theses : 
 
 Virum mihi Camena i n s e c e versutum 
 A - G A-G I A-A-G° || A^-0 - Gj A-A-G 
 
 Here the primary theses are A, A, A, A^-0, A; the secondary, corresponding 
 to ordinary arses, are G, G, A-G°, G, A-G. Similarly : 
 
 lovllv:/|vLi||l^ i Iw ^\L ^ 
 Arma virumque cano Troiae qui primus ab oris 
 A-G A-A-G I A-G II A-G A A-G°-G|A-G 
 
 Here the primary theses are A, A, A, A, A, A; the secondary, G, A-G, G, 
 G, A-G°-G, G. 
 
 It is thus clear that the stressless arsis has no status in Latin rhythm : 
 ef. Persius, Sat. VI. 3-4. 
 
 The Ehtthm of the Double Accent. 
 
 § 8. Before passing to the further examination of the rhythm of the 
 Carmen Arvale, it will be well to make clear the rhythmopoeic supremacy of 
 the tripudium sollistimum or bi-accentual foot in Latin verse. That 
 supremacy is due to the overpowering effect of the double accent, which is 
 able when necessary to soften a following G to G°, and thus to rhythmize 
 the otherwise unrhythmical sequences G-G and G-A-0 : — 
 
 A-A-G G = A-A-G °-G 
 A-A-G A-0 = A-A-G °-A-0 
 For example, 
 
 A^ A^Uiolllwv:.!!!^ 
 
 Virum mihi Camena insece versutum 
 
 A-G A-G| A-A-G°||A='-0-Gl A-A-G 
 
 [ 10 ] 
 
1 ^ Ai«/|vL^||i^ 1 ±o w|li 
 Arma vimmque cano Troiae qui primus ab oris 
 A-G A-A-G |A-G || A-G A A-G° G |A-G 
 
 In both verses G° has been rhythmized by the preceding A- A, which exer- 
 cises its accentual prerogative of converting G-G into G°-G, and G-A-0 
 into G°-A-0. 
 
 The Povfekful Initial Thesis. 
 
 § 9. This rhythmopoeic prerogative is enjoyed also by the uno-accentual 
 tripudium, but only when it begins the rhythmic series: A^=A-A; there- 
 fore, A=-G G=A^-G°-G, and A^-G A-0 = A2-G°-A-0. 
 
 For example, 
 
 iwv:/]l_±|il ±wc,iwtw|i«, 
 
 Ennius, Ann. I. 42: Tardaque vestigare et quaerere te neque posse 
 A=-0-G°l A-O-A IIA-A-0-G A A |A-G 
 
 1 w c. |l_i «i. Ill 1 _ ±w «, |i i 
 
 Horace, A. P. 131: Impiger iracundus inexorabilis acer 
 A^-0-G°|A-0-A-G IIA-A-0-A-O-G |A-G 
 
 A= makes G° before A-0. 
 
 — >:/%:/| — ^^'w.i.[| J. — w \t— wc|— M/ 
 
 Vergil, Aen. VIII. 629 : Stirpis ab Ascanio pugnataque in ordine bella 
 
 A2-G°-G|A A G|| A- A-0 A-A-0-G|A-G 
 
 A^ makes G° before G, just as A-A makes G° before A-0 in: 
 
 l_lv:/|A^|ii l^i^v:,|li 
 
 Verg., Aen. I. 7 : Albanique patres atque altae moenia Romae. 
 A-0-A-G| A-G II A - A-G° A-0-G| A-G 
 
 Accordingly, the two great rhythmopoeic agencies of Latin tripudic rhythm 
 are A-A and A^, which enjoy the prerogative of rendering the otherwise 
 unrhythmical sequences G-G and G-A-0 rhythmical, when they invade the 
 limits of the tripudic verse-foot. 
 
 The Maetian Dipodt. 
 
 § 10. Eesuming now the study of the rhythm of our earliest monument 
 of Latin verse, we have seen that the point of the stayed spear in the Carmen 
 Arvale is occupied by the single tripudic monopody : 
 
 I L ^ 
 
 Triumpe ! 
 A-A-G 
 
 [ 11 ] 
 
Above this we find the next phase of tripudic evolution in two tripudic 
 dipodies of the form : 
 
 o -!- vi/ 'i/ — ^ 
 
 Triumpe Triumpe 
 
 A-A- G I A-A- G 
 
 Jv'oteworthy is the arithmetical progression in the number of words used 
 in the successive types, as well as in the number of the types themselves. 
 
 Next in order from below come three new dipodies of three words each, 
 in the form : 
 
 I ^ 1 ^ \ 11^ 
 Enos Marmar iuvato 
 A-G A - G [A-A-G 
 
 The traditional Enos may have been a phonetic illusion occasioned by the 
 nasal sound at the beginning of nos. The orthography of the inscription is 
 phonetic and betrays the fact that the Brotherhood no longer understood 
 its literal meaning and form. Otherwise, we might explain enos as a 
 confusion of exclamation ( En or E ) with pronoun : En nos Lases 
 iuvate, etc. 
 
 The Martian Distich. 
 
 § 11. Prom this point on, the magical number three is maintained for 
 the new types, while the number of words continues to add one : three 
 tripudic tetrapodies of four words each, of the form : 
 
 ±±^|ii^|i±wlv.^|l ^ 
 
 Semunis alternei advocabitis conctos 
 A-A-G |A-A-G°||A=-0-A-0-G j A-G 
 
 The G° is thus rhythmized before A^-0 by the antecedent A-A; moreover 
 A^-0 begins a new tripudic dipody. 
 
 It is certain that we have reached here the central rhythmical motive 
 of the sacred hymn, which is to exhibit the genesis of the sacred tetrapody 
 out of the tripudium. Eor this type occupies with its several variations the 
 heart of the sacred symbol, which concludes at the top with a return to the 
 dipody. The number of words in each tetrapody is now doubled to eight 
 by giving two to eaeh foot of the tetrapody : 
 
 I ^ wlw|v../lw 1 II li vi.:.|l 1.^ 
 
 Satur f ure fere Mars limen sail sta verber 
 A-G A I A A II A-G A-G|A'-A-G 
 
 [ 12 1 
 
We are thus introduce d to several new aspects of the magical foot, and 
 especially to the most important, which is the expanded or double para- 
 catalectic form A-G A-G. It is to the expanded tripudic foot that the 
 prohibitions G-G and G-A-0 find their crucial application. 
 
 The next group of three tetrapodies, occupying the widest zone of the 
 spear-head, exhibit, as it were, the full bloom of the Martian verse, of the 
 form: 
 
 Neve luem ruem Marmar sinas incurrere in pleoris 
 A-G A-G|A-G A^GII A AA-0-G|A-A-G 
 
 The Normal Dueation of the Latin Accent. 
 
 § 12. The above type practically completes the revelation of the Protean 
 
 \.^ ' w J. J. ^^ o 
 
 forms assumed by the magical tripudium. In the form sinas incurrere 
 
 wo have our earliest illustration of the so-called Iambic Law: it is clear 
 
 that in all iambic combinations with the acute stress on the short 
 
 I - 
 (e. g. sinas), the acute stress will invade the last syllable, unless the two 
 
 syllables are kept apart as thesis and arsis, and since it requires but one 
 
 more short syllable to support it the remaining half of the subsumed long 
 
 is discarded. Consequently, such iambic accentual combinations ( A - j , 
 
 when beginning either thesis or arsis, and accordingly confined thereto 
 
 and subjected to the single stress, become pyrrhic (w ' w), because the ex- 
 
 spiratory strength of the accent is exhausted upon a long or two shorts, 
 
 and therefore the last half of the long remains unvoiced. This is the 
 
 explanation of the Iambic Law, which is purely a result of the stress 
 
 accent of Latin speech, and entirely independent of the verse-ictus. The 
 
 traditional sins for sinas illustrates the phonetic operation of the law: 
 
 v!/ ^ ^y ' ^^ — 
 
 sinas = sinas = sins. 
 
 The Magical and Sacked Tanzlibd. 
 
 § 13. The socket of the spear-head is completed with three dipodies of 
 the form: 
 
 v*/ _:_ \1/ .1. I vl/ J. N^/ 
 
 Enos Lases iuvate 
 A-G A-G I A- A-G 
 
 The number three, the sacred tripudium, and the sacred tetrapody consti- 
 tute, together with the sacred symbol itself, the magical and religious motive 
 
 [ 13 ] 
 
of this ancient Tanzlied. It is a truly magical apotheosis of the sacred 
 symbol and the sacred rhythm of the god. That rhythm is expressed in the 
 cult-word Triumpe, and its full development appears in the Martian 
 tetrapody, which originated out of the union of two tripudic dipodies : the 
 Saturnian therefore is an artistically modulated Martian distich. 
 
 The Oeigin of Ehtthmic Speech, Vekse, and Movement. 
 
 § 14. It is apparent therefore that we have in the Carmen Arvale a 
 glorification of the tripudic verse-foot and tripudic rhythm in connection 
 with the worship of Mars. The magical and religious elements are fully 
 developed and expressed, whereas the conscious artistic element is wholly 
 lacking. The language and thought is that of common speech, which has 
 taken rhythmical form in the atmosphere and ritual of the sacred cult. 
 Thus the ancient hymn is a union of sacred prayer and magical dance. It 
 illustrates for us in a rarely vivid way the very process of the evolution of 
 poetry and song out of emotional speech, in which the rhythmic element is 
 natural and instinctive, and of the dance out of the accompanying rhyth- 
 mical movement of the feet. The magical efficacy of such emotional and 
 rhythmical utterance and of its accompanying rhythmical movement is 
 common to all primitive Indoeuropean belief, and is associated everywhere 
 with the worship of spirits or gods, and with the effort to influence or 
 control their activities. From this source sprung the oldest type of Indoeu- 
 ropean poetry in the form of the magico-religious utterance or incantation, 
 and when such utterance is accompanied, as it commonly has been -from 
 immemorial antiquity, with rhythmic movement, we have the genesis of 
 song and the dance in the magico-religious Tanzlied. Such is our Carmen 
 Arvale, whose primitive characteristics show it to belong to the early dawn 
 of Indoeuropean, as of Italico-Eomanic culture-history. 
 
 The Origin op the Satuknian. 
 
 § 15. The Martian tetrapody, which we have recognized as glorified 
 in this earliest monument of Latin literature, is itself the earliest creation 
 of Latin rhythmic art, and the immediate source of the classic or literary 
 Saturnian. The harvest-god Saturnus became the literary heir to the 
 war-god Mars, at a time when the arts of peace began to assert themselves 
 by giving literary prominence to the sickle over the spear. And so the 
 Carmen Arvale, which is a relic of the Martian period, survives as an 
 isolated fossil in the heart of the cult of Dea Dia, the feminine counterpart 
 of Saturnus. Meanwhile the evolution of the literary Saturnian, as it 
 appears in Livius Andronicus and ;?^;rvius, is clearly traceable, in the scat- 
 
 [ 14 ] 
 
tered fragments of our tradition, out of tlie Martian tetrapody, as it appears 
 in the Carmen Arvale. The classic Saturnian is nothing more than a 
 Martian tetrapody artistically modulated by giving prominence to the double 
 paraeatalectic tripudium in the first foot, to the procatalectic in the second 
 and fourth, and to the acatalectic in the third : 
 
 Virum mihi Camena insece versutum. 
 A-G A-G|A-A-G°||A=-0-G|A-A-G 
 
 €aesius Bassus and Philological Cliquish. 
 
 § 16. Hellenizing orthodoxy will have nothing to say about tripudic 
 rhythm except in so far as it is susceptible of a quantitative dress. But this 
 •silence is not one of ignorance, but only of the traditional doctrine, which 
 recognizes as artistic only the quantitative principle of Greek metric, and 
 thus ignores in theory what could not possibly be ignored in practice. Even 
 Caesius Bassus lets drop a significant remark: Keil YI. 307 Molossus ex 
 tribus longis temporum sex, ut Aeneas (±li=A-A-G); hune alii 
 hippion appellaverunt. Thus our thesis-packed tripudic foot is not only the 
 triple-tramp of the war-god, but also the triple-trot of the war-horse in the 
 .sacred Equirria: cf. Wissowa, Eel. u. Kult. der Rom. 131. In like manner 
 Diomedes reveals to us the method of Hellenizing pragmatism on a still 
 niore generous scale : Keil I. 480 Et est hippius sive epitritus primus, ex 
 iambo et spondeo, hoc est ex brevi et tribus longis, temporum septem, ut 
 Capenates (<^ ' _±i = A-A-G) ; hippius sive epitritus secundus, ex 
 trochaeo et spondeo, hoc est ex longa et brevi et duabus longis, temporum 
 septem, ut conditores (i^l^ = A-O-A-G) ; hippius sive epitritus tertius, 
 ex spondeo et iambo, hoc est ex duabus longis et brevi et longa, temporum 
 septem, ut discordiae, heroici (1 ± ^ ^ = A-A-O-G) ; hippius sive epitritus 
 quartus, ex spondeo et trochaeo, hoc est ex tribus longis et brevi, temporum 
 septem, ut invitamus (l_lw/ = A-O-A-G). This may be characterized 
 as the hellenizing process of seething the kid in the milk of its mother. 
 
 The Salian Hymns. 
 
 § 17. In like manner, the tripudic foot adapts itself perfectly to the 
 leap-step or dance of the Salii in the manifold festivals of the national god : 
 Livy I. 20 Salios item duodecim Marti Gradivo legit tunicaeque pictae 
 insigne dedit et super tunicam aeneum pectori tegumen caelestiaque arma, 
 quae ancilia appellantur, ferre ac per urbem ire canentes carmina cum 
 iripudiis sollemnique saltatu iussit. We can no longer be in doubt as to 
 
 [ 15 ] 
 
the rhythm of the Salian songs and dancing, in view of the revelations 
 afforded by the Arval dance-song. Our scanty remnants disclose unmis- 
 takably the Martian tetrapody of the Arval type with a dipodic refrain : 
 
 Varro, De L. L. VII. 27 : 
 
 Divom lovem patrem c a n i t e 
 A-G A-G |A-G A G || 
 
 1 i X. 
 
 Terent. Sc, Keil VII. 28 : 
 
 divom deo supplicate 
 A-GA-G°| A-O-A-G 
 
 Quome tonas Leucesie prae ted tremonti 
 A A-G I A- A- Gil A A i A-A-G 
 
 Festus 131 (Miiller) : 
 
 i 1 .^1 vll^, 
 
 Mamuri Veturi ! 
 A-A-G 1 A-A-G 
 
 The stress nature of the rhythm of the Salian ritual may be inferred 
 from the important role played by the feet of the Salii : Plutarch, Numa 13 
 
 'H 8e dfCjU?) T^s 6pxr)<Tews iroSftiv epyov IdTiv ' Kivovvrai yap eTnTepwHs, cAty/xous 
 Tiva'j Kol fiera/SoXai iv pvdfua raxoi e'^ovTi Koi TruKVorrjTa /iera pw/iTjs Koi kov<J)OT7ito^ 
 aTToSiSovTes . 
 
 Horace vouches expressly for its triple stress: Cariii. IV. 1. 28 In 
 morem Salium ter quatient humum. Compare also Catullus' character- 
 ization, Carm. 17. 5 : 
 
 Sic tibi bonus ex tua pons libidine fiat 
 In quo vel Salisubsali sacra suscipiantur. 
 
 It is clear then that our pes tripudians was a thesis-packed or heavily 
 stressed foot, lending itself readily to all sustained rhythm in speech or 
 movement. 
 
 The Numerus Italious. 
 
 § 18. That tripudic rhythm was characteristically Italic and specif- 
 ically Latin, and that it was synonymous with Saturnian, may be read 
 between the lines of Hellenizing orthodoxy: Diomedes, Keil I. 479 Bac- 
 chius, Oenotrius, tripudians, saltans, quern Graeci pariambum dicunt : 
 constat ex brevi et duabus longis, temporum quinque, ut Agenor 
 
 (11^ = A-A-G), Athenae (Al.i = A-A-G), dictus irapa ras Baicxas, 
 
 quia bacchantibus convenienter componebatur. Huic contrarius est palin- 
 
 [ 10 
 
baccMus, Latius, qui et Saturnius, ultimibrevis, quern quidam propompicon, 
 alii theseleon vocant. If the epithet thesehon means "thesis-crazy" 
 {6i<TK, ^Xeos) with true Attic wit, then it emanated from a source that 
 knew more about Latin accent and rhythm than all the Hellenizing school 
 from Bassus till now have ever confessed to. 
 
 Our pes tripudians then was all thesis; it was characteristically Italic 
 and specifically Latin; and it was identical with the pes saturnius. It 
 was that rhythm to which Horace boasted of having been the first to reduce 
 the quantitative scheme of the Jilolian lyre: 
 
 Odes III. 30. 13 Princeps Aeolium carmen ad Italos 
 Deduxisse modos. 
 Nay more, it was the identical rhythm, to whose "virile din" (Ictuum 
 Sublafio) Persius refers in his eulogy upon that arch-sinner Bassus 
 himself : 
 
 Satire VI. 2-3 Mire opifex numeris veterum primordia vocum 
 Atque marem strepitum fidis intendisse Latinae. 
 In a word, it is the instinctive Eoman mood of all exalted or forceful expres- 
 sion in prose as well as in verse : 
 
 W — — ^J ^ — ^ — — — w — \^ ^ 
 
 Senatus populusque Eomanus Quiritium 
 A-A-G A A-G A-A-G A-A-O-G 
 
 Quousque tandem a b u t e r e C atilina patientia nostra 
 A-A-G A-G A-A-G A-A-G A A-O-G A-G 
 
 — »!■ ^L ^^ ^X JL- ^y mi- ^/ ^y — ^/ ^U 
 
 Bxegi monumentum aere perennius 
 A-A-G A A-G A-G A-A-G-G 
 
 ■1. _ ,1- \J \^ — O — • \^ •_• \y 
 
 Percurrent raphanique mugilesque. 
 A-A-G A A-G A-O-A-G 
 
 It is this tripudic rhythm of contrasted stress which Persius character- 
 izes as marem strepitum ficUs Latinae, and it is the trick of tuning that 
 rhythm to the laws of quantitative structure for which he eulogizes his friend 
 Bassus, mire opifex numeris marem strepitum fidis intendisse latinae. 
 
 The Magical and Sacked Teipudium. 
 
 § 19. This native tripudic rhythm of Latin speech, adapting itself with 
 magical facility to every form of sustained activity, assumed by natural 
 association a genuinely magical and religious significance in the popular 
 
 [ 17 ] 
 
mind, which spread inevitabl,y from the prayers, formulae, and proces- 
 sions of the Mars cult to all the interests and activities of life. Accord- 
 ingly, the magical efficacy and hoary sacredness of the tripudium confronts 
 us everywhere throughout sacred and profane usage: Paulus ex Festo 
 244. 11: Puis potissimum datur in auspiciis quia ex ea necesse est aliquid 
 decidere quod tripudium f aceret ; Servius, Verg. Ed. VIII. 30 : Dicitur 
 etiam ideo a novo marito nuces spargi debere quod proiectae in terram 
 tripudium soUistimum faciant, quod auspicium ad rem agendam optimum 
 est. 
 
 It is not surprising then that the rhythm of contrasted stress, being at 
 once the native rhythm of Latin speech and verse, and the instinctive mood 
 of all sustained movement in nature and spirit, should appear on the dawn 
 of history as invested with magical and religious significance primarily 
 in conjunction with the prayers and lustrations of the Mars cult. We 
 have accordingly recognized in the Carmen Arvale an elaborate exploita- 
 tion of the sacred spear and the sacred tripudium of the war-god. The 
 simple suggestiveness of this association lends no support to the anthropo- 
 logical generalizations of Koscher (Myth. Lex.. Mars) and his school, but 
 confirms the less sophisticated conclusions of "Wissowa, Eel. u. Kult. der 
 Romer, p. 130: Mit Unrecht haben Xeuere in diesen Plurumgangen eiuen 
 Beweis daflir finden woUen, dass Mars von Haus aus ein Vegitations- 
 und Ackergott sei. Soweit die Ueberlieferung uns ein Urteil gestattet, ist 
 Mars den Eomern nie etwas anders gewesen als Kriegsgott, und wenn man 
 ihn um Schutz der Fluren anfleht, so geschieht das nicht, damit er das 
 Wachstum der Saaten fordere, sondern damit er Kriegsnot und Yerwlis- 
 tung von den Feldern f ernhalte. So in the prayer of the Arval Brethren : 
 
 Neve luem ruem, Marmar, sinas incurrere in pleoris. 
 
 Satur fure, fere Mars; limen sali, sta verber. 
 On the other hand, it is the Semones that are to be called in to supplement 
 the good offices of the Lares and Mars: 
 
 Semunis alternei advocabitis conctos. 
 But the magical virtue of the sacred tripudium will approve itself as well 
 in the lustrations of the husbandman as in those of the warrior, and hence 
 the community of religious usage. 
 
 The Original Maetian Saceedness of the Tripudium. 
 
 § 20. The original Martian sacredness of tripudic rhythm, which is 
 evidenced by the Carmen Arvale, is confirmed by the rest of our tradition. 
 When the Eoman general was about to enter upon the campaign, imme- 
 
 [ 18 1 
 
morial usage required him to repair to the shrine of the sacred spears and 
 shields in the Eegia, and touching them with his hand to utter the tripudic 
 prayer : 
 
 Mars V i g i 1 a ! 
 A AG 
 
 Here the sacred tripudium is the magic influence that can arouse the quies- 
 cent numen. The auspicious cry embodies the rhythm of the magical cult- 
 word: 
 
 1 1 o 
 
 Triumpe ! 
 
 A-A-G 
 
 which expresses in name and rhythm the sacred three-step of the god. The 
 magical charm will operate even independently of all meaning : 
 Cato, De A. CLX (against sprains) : 
 
 \J ^ \J 2. \£/ I o ^ 
 
 Huat hauat huat 
 A A-G |A-G 
 
 Ista pista sista 
 A-A A-G |A-G 
 
 ± 1 i I 1 ± * 
 Dannabo dannaustra 
 
 A-A-G I A-A - G 
 Schol. in Persium III. 16 (to put the baby to sleep) : 
 
 ± i ± i 
 
 Lalla lalla 
 
 A-G A-G 
 1 1 
 
 1 ' ■ 
 lalla 
 
 |A-G 
 111^ 
 
 Aut dormi aut lacta. 
 A-A-G I A- A-G 
 
 The Ehythsiic Expansibility of the Teipudium. 
 
 § 31. Our venerable dance-song of the inverted spear and sacred 
 tripudium is a deliberate demonstration of the rhythmic exspansibility of 
 the magic verse-foot. Immediately above the last Triumpe follows toward 
 the top the second step in the evolution of the sacred rhythm, the Martian 
 dipody : 
 
 [ 1!) ] 
 
o — x:/ I vL J. s:/ 
 
 Triumpe Triumpe ! 
 A-A-G| A-A-G 
 
 Here again it is the Martian cult of the Salii which furnishes our most 
 ancient parallels; cf. Plutarch, Numa 13: 
 
 Mamuri Veturi ! 
 A-A-GIA-A-G 
 
 Festus (Miiller) 205: 
 
 ±1 ^ I i ^ 
 Pilumnoe poploe. 
 
 A-A G I A - G 
 
 In connection with the vocatives Mamuri Veturi, an interesting echo of 
 the tripudic accent is traceable to Mgidius Mgulus: Gellius, N. A. XIII. 
 36 P. Mgidii verba sunt ex commentariorum grammaticorum vicesimo 
 quarto, hominis in disciplinis doctrinarum omnium praeeellentis : Deinde, 
 inquit, voculatio qui poterit servari, si non sciemus in nominibus, ut Valeri 
 ( A A .=. = A-A-G) , utrum interrogandi sint an vocandi ? Nam interrogandi 
 secunda syllaba superiore tonost quam prima, deinde novissima deicitur ; at 
 in casu vocandi summo tonost prima, deinde gradatim descendunt 
 (Descensio Ictuum). 
 
 The Expanded Teipudium. ' 
 
 § 23. Dedicatory inscriptions afford a fruitful field for the study of the 
 native tripudic rhythm of the Eomans. The simpler dipodic forms abound : 
 
 Praenestine Vases, C. I. L. I. 43 ff. (Lindsay, Lat. Insc. 28) : 
 
 ± w ^. I 1 w .i. 
 
 Belolai poculum 
 A2-0-G°| A-O-G 
 
 11^.1 I ^ ^ 
 Lavernai poculum 
 
 A-A-G°| A-O-G 
 
 1 i ^ I ± w .^ 
 
 Saeturni poculum 
 
 A-A-G°| A-O-G 
 
 ± ±^ I 1 w ^ 
 Volcani poculum 
 
 A-A-G°| A-O-G 
 [ 20 ] 
 
± ±i I ± w i 
 
 Aisclapi poeulum 
 A-A-G°| A-O-G 
 
 Alii 1 w i 
 Salutes poeulum 
 
 A-A-G°| A-O-G 
 
 The Teipudic Dipody. 
 
 § 23. Climbing the spear-point from below we come next to our first 
 lesson in tripudie expansion. The simple procatalectic foot A-A-G° may 
 be replaced by the expanded or double paracatalectic foot A-G A-G°. Thus 
 is evolved the dipodic type of the form : 
 
 A i 1 i I Ali 
 Enos Marmar iuvato 
 
 A-G A-G |A-A-G 
 
 Hand in hand with this expansion of the tripudie measure went the in- 
 creased rapidity and lightness of the accompanying dance-step. This type 
 of dipody, composed of the tripping paracatalectic tripudium followed by 
 the heavy procatalectic measure, became the favorite, and plays the leading 
 role in the literary Saturnian: 
 
 I ^ I ^\l 1 olllwv:,! ± 1 i 
 
 Virum mihi Camena insece versutum 
 A-G A-G|A-A-G°||A=-0-GlA-A-G 
 
 The Maktius Vates. 
 
 § 24. The older strata in our tradition abound in the various phases of 
 this dipodic expansion, which when carried to the limit gives rise to the 
 Martian tetrapody and its literary ofEspring, the classic Saturnian. . Hence 
 it is that near the border-line the examples are susceptible of either dipodic 
 or tetrapodic interpretation. 
 
 Isidorus, Orig. VI. 8. 12: Primus autem praecepta apud Hebraeos 
 Moyses scripsit, apud Latinos Martins vates primus praecepta composuit. 
 Ex quibus est illud : 
 
 Postremus dicas primus t ace as 
 A-A-G A-G I A-G A-G 
 
 If the reading Martins, which characterizes four of the nine codices 
 cited by Havet {De Sat. Vers. 399), could be established over the prevalent 
 
 '■[ 21 ] 
 
tradition with regard to the name, we should have a more significant rela- 
 tion between the bard and his Martian dipody. Unless we view the verse 
 as a tetrapody, which would not harmonize well with like phenomena of this 
 primitive period, we have here a tripudic dipody with procatalectic expan- 
 sion in the first foot, and paracatalectic in the second. 
 
 The Tripudic Distich. 
 
 § 25. All the evidence points unmistakably to the prehistoric domi- 
 nance of the Martian dipody, and to the genesis of the earlier tetrapody 
 and later Saturnian out of the union in one verse of two such dipodies. 
 Our tradition provides us with examples both of continuous series of these 
 tripudic dipodies, and especially also of little couplets which reveal the 
 starting-point of the tetrapodic formations. 
 
 Xonius Marcellus, quoting Fabius Pictor, cites the following sacral 
 rhythm (Luc. Miiller, II. 214) : 
 
 Aquam manibus pedibusque dato 
 A-G A- G I A-A-G A-G 
 
 Polybrum sinistra manu teneto 
 A-A- G A- A- G I A-G A-A-G 
 
 Dextera vasum cum aqua. 
 A-O-G A-G I A-A-G 
 
 A'arro, De E. E. I. 2. 27 : 
 
 Ego tui memini 
 A-G A-G I A-G 
 
 Medere meis pedibus 
 A-A-G A-G I A-G 
 
 1 ^ 1 ^ I A ± ^ 
 Terra pestem teneto 
 
 A-G A-G I A-A-G 
 
 A ^ 1 I A i.^ 
 Salus hie maneto 
 
 A-G A I A-A-G 
 [ 22 ] 
 
— vL ^ I ^^ ' V^ JL 
 
 In meis pedibus. 
 A-A-GI A G 
 
 Varro, De L. L. 21 ; 
 
 Novum vetus vinum bibo 
 A-G A-G I A-G A-G 
 
 No<yo veteri morbo medeor. 
 A-G A-G| A-G A G 
 
 Macrobius, Sat. Y. 20. 18 : In libro enim vetustissimorum carminum, 
 qui ante omnia quae a Latinis scripta sunt compositus ferebatur, invenitur 
 hoc rustieum vetus carmen : . 
 
 Hiberno pulvere verno luto 
 A-A-G°A-0-G| A-G A-G 
 
 J- \j ^ -Lo|\i/JL\j/ A-i- 
 Grandia farra camille metes 
 
 A-O-G A-G|A-A-G A-G 
 
 It is clear that such dipodic couplets, when taken as one continuous verse, 
 will each constitute a single tetrapody of the form : 
 
 Neve luem ruem Marmar sinas incurrere in pleoris 
 A-G A-G I A-G A-G II A AA-0-G|A-A-G 
 
 And this Martian tetrapody is the obvious source of the literary Saturnian : 
 
 Virum mihi Camena insece versutum 
 A-G A-G I A- A-G° || A^-O-Gj A- A-G 
 
 Thus the literary Saturnian is the final stage in the evolution of the 
 dipodic distich, which so often confronts us in the more primitive tradition. 
 
 The Caemen Aevale an Epitome of Latin Ehythmic Evoldtion. 
 
 § 36. The evolution of Latin rhythmic art illustrates the mathematical 
 consecutiveness which characterizes all the operations of the Latin spirit. 
 The tripudic principle of the dual stress, which is inherent in Latin speech, 
 
 [ 23 ] 
 
implies the rhythmic principle of tripudic contrast, which is inherent iii 
 the dipody, and finally of dipodic contrast, which is inherent in the tetrap- 
 ody. Consequently, stress contrast in the verse-foot, tripudic contrast in 
 the dipody, and dipodic contrast in the tetrapody, constitute the main- 
 springs of rhythmic procedure in all Latin versification. It is precisely this 
 duplicational expansibility of the tripudic principle, which is curiously in- 
 culcated in the numerical relations embodied in the Carmen Arvale. The 
 dipody of three words: 
 
 •h JL. vl/ ^ I \!/ J. v:/ 
 
 Enos Lases iuvate 
 ' A-G A-G |A-A-G 
 
 is followed by the double dipody of eight words : 
 
 Neve luem ruem Marmar sinas incurrere in pleoris 
 A-G A-G I A-G A-G || A AA-0-G|A-A-G 
 
 •I J. wlwlw'w 1 II 1^ vL^li ±i 
 
 Satur fure fere Mars limen s a 1 i sta verber 
 A-G A I A A 1|A-G A-G | A A-G 
 
 Then the double dipody of four words : 
 
 Semunis alternei advoeabitis conctos 
 A-A-G|A-A-G°||A^-0-A-0-G| A-G 
 
 Then the return to the single dipody of three words : 
 
 Enos Marmar iuvato 
 A- A A-G I A- A-G 
 
 Then the dipody of two words : 
 
 Triumpe Triumpe ! 
 A-A-Gj A-A-G 
 
 And finally the sacred measure alone : 
 
 A 1 o 
 Triumpe ! 
 
 A-A-G 
 
 [ 24 ] 
 
Thus our vates Martins teaches us with his magical cryptograph that the 
 tripudium : 
 
 I I ■^ 
 
 Triumpe ! 
 
 A-A-G 
 
 and the tripudic dipody : 
 
 w — \L ju I \L — o 
 Enos Lases iuvate 
 
 A-G A-G I A-A-G 
 are the true Alpha and Onaega of his sacred art. 
 
 The Evolution of the Numerus Italicus. 
 
 § 27. Our task thus narrows itself to tracing the universality of this 
 prehistoric numerus Italicus or Martian dipody in Latin verse, and to shew 
 that all tetrapodic types are merely double dipodies, in which the second 
 furnishes the rhythmic contrast to the first. Before passing to our more 
 continuous tradition in inscriptions and literature, let us seek to survey 
 sufficiently the remainder of the outlying phenomena not already brought 
 within the path of our inquiry. 
 
 a. Versus sacrorum, ap. Front. 67 N (On the city-gate of Anagnia). 
 
 i i ± *l 1 1 i 
 Flamen sume samentum 
 
 A-G A-G I A-A-G 
 
 b. Calatio, Varro de L. L. VI. 27. 
 
 Kalo luno Covella 
 A-G A-G I A-A-G 
 
 c. Invocatio, Servius, Aen. VIII. 72 : Sic invocatur in precibus. 
 
 A ± ilv. • wi o II 1 1 ^|± i 
 
 Adesto Tiberine cum tuis undis 
 A-A-G| A -A-G II A A-G|A-G 
 
 d. Praecepta, Gellius IT. 9.1: Ex antique carmine. 
 
 v^lwlo lilAiill 
 
 Eeligentem esse oportet 
 A A-G A-G|A-A-G°|| 
 
 Eeligiosus ne fuas 
 A2-0-A-G|A-A-G 
 
 [ 25 ] 
 
The preference for the procatalectic tripuclium at the end of the dipody, 
 and for the acatalectic tripudium at the beginning of the contrasted dipody, 
 is evidenced as early as the Carmen Arvale, and became the prevailing rule 
 in the literary Saturnian. 
 
 e. Appius Claudius, Pestus 317. 
 
 ± ^ 1 .^ I vl 1 * II 
 Ne quid fraudis stupriqu.e 
 
 A G A- G I A-A-G || 
 
 Feroeia pariat. 
 A-A-0-G| A- G 
 
 vL 1 ^ I ± 1 ^ II 
 Amicum cum vides 
 
 A-A-G I A A-G°|| 
 
 Obliviscere miserias: 
 A2-0-A-0-G| A A-G 
 
 ^* ^JL ^ ±^11 i .^11 
 I ni miens si es commentiis 
 
 A A-G A-G I A-A-G || 
 
 ± vL ^ 11 i 
 Nee libens aeque. 
 
 A-A-G |A-G 
 
 The Sackal Dipody. 
 
 § 28. It is not to be expected that the various sacral formulae, which 
 Varro and Livy have handed down to us in continuous script without indi- 
 cation of verse-endings and without sure guarantee of verbal precision, 
 should be susceptible everywhere of one and the same monotonous dipodic 
 analysis. But our graphic formulae will reveal unmistakably the uni- 
 versality of the tripudic rhythm in all such monuments, and hence the 
 necessary dipodic articulation which must have formally characterized 
 them. 
 
 a. Lustratio, Cato de Agric. 132. 
 
 luppiter dapalis, quod tibi fieri oportet in domo f a m i 1 i a 
 A-O-G A-A-G A-A-G A-G A-A-G A-A-G A A-G 
 
 [ 26 ] 
 
mea eulignam vini dapi, eius rei ergo macte hac ills,ce 
 A-G A-A-G A-G A-G A-G A-G A-G A-G A A-A-G 
 
 dape pollucenda esto. 
 A A-O-A-G A-G 
 
 b. Ibid. 141. 
 
 i Ai IJ/^ 1 L ^ vLi Ajl Aj. 
 
 Mars pater, te precor quaesoque uti sies volens 
 
 A A-G A-A-G A-A-G A-G A-G A-G 
 
 propitius mihi domo familiaeque nostrae, quoius rei 
 A A-G A-G A-G A-O-A-G A-G A-G A-G 
 
 ■— — w t2- _ ^ _ _ o w — v^ ^ ^ ^ JL v^ o 
 
 ergo agrum terrain fundnmqiie meum suovitaurilea 
 A-G A-G A-G A A-G A-G A-0-O-A-O-G 
 
 eireumagi iussi, uti tu morbos visos invisosque, 
 A A G A-G A-G A A-G A-G A-O-A-G 
 
 viduertatem vastitudinemque, calamitates intemperiasque 
 A-O-A-G A-0-A-O-A-G A-O-A-G A-0-O-O-A-G 
 
 prohibessis defendas averruncesque ; ntique tu fruges, 
 A-O-A-G A-A-G A-0-O-A-G A-G A A- 6 
 
 — — O — pl> O --- — ^ O — — O ^ ^ ^ _ ^ _ ^ 
 
 frumenta, vine t a virgultaque grandire beneque evenire 
 A A-G A-A-G A-A-O-G A-A-G A G A-O-A-G 
 
 sir is, pastores pecuaque salva servassis duisque bonam 
 A-G A-A-G A-A-G A-G A-A-G A-A-G A-G 
 
 salutem valetudinemque mihi domo familiaeque nostrae : 
 A-A-G A-0-A-O-A-G A-G A-G A-O-A-G A-G 
 
 harumce rerum ergo, fundi terrae agrique mei lustrandi 
 A-A-G A-G A-G A-G A-G A-A-G A-G A-A-G 
 
 [ 27 ] 
 
lustrique faciendi ergo, sicuti dixi, macte hisce suovitaurilibus 
 A-A-G A-A-G A-G A-O-GA-G A-G A-G A-0-O-A-O-G 
 
 lactentibus immolandis e s t o. 
 A-A-O-G A-O-A-G A-G 
 
 c. Vaticinium Albanum, Livy V. 16. 8. 
 
 Eomane aquam Albanam cave lacu teneri 
 A-A-G A A-A-G A-G A-G A-A-G 
 
 \J/ i _ \^ \J .jL — O — "^ ^ w JL w — 
 
 Cave in mare manare flumine sinas suo 
 A-G A A A-A-G A-O-G A-G A-G 
 
 Emissa agros rigabis dissipatam rivis 
 A-A-G A-G A-A-G A-O-A-G A-G 
 
 L L J. 11 llo 1 i i^- -- 
 
 Exstingues turn tu insiste audax hostium muris 
 
 A- A G A A A-A-G A-G A-O-G A-G 
 
 I J. 1 ^Alilwilvi/ 
 
 Memor quam per tot annos obsides urbem 
 A-G A G A-A-G A-O-G A-G 
 
 lAivti 1 li 1 I ^ llwi 
 
 Ex e a t i b i his fatis nunc datam victoriani 
 A-A-G A-G A-A-G A A-G A-A-O-G 
 
 lill.^1^ llili 1«k1w'v..1v:/ 
 
 Duello perf ecto donum portato amplum victor ad m e a templa 
 A-G A-A-G A-G A-A-G A - G A- G A A A-G 
 
 w'wM- w'wvi/ 1^ 1«/ 1 llo I 1 ^ ^ 
 
 Sacraque patria quorum eura est oinissa ut ad solet 
 AG A-G A-G A-G A A-A-G A-A-O-G 
 
 1 — — — ^ \j ^ ^^ z. 
 
 Endostaurata facito 
 
 A -0-0- A-G A-G 
 
 [ 28 ] 
 
d. Devotio, Livy VIII. 9. 6. 
 
 lane, luppiter, Mars pater, Quirine, Bellona, Lares, divi novensiles, 
 A-G A-O-G A A-G A-A-G A-A-G A-G A-G A-A-O-G 
 
 di Indigites, divi quorum est potestas nostrorum hostiumque, dique 
 A A A-G A-G AG A A-A-G A-A-G A-O-A-G A-G 
 
 >_■ — — W — ' ^ ^^ ~ ^^ ^ ~ w ^ i — O w ~ ^ ^/ — — — — 
 
 manes, vos precor, veneror, veniam peto oroque, uti populo Eomano 
 A-G A A-G AG A-G A-G A-A-G A-G AG A-A-G 
 
 Quiritium vim victoriamque prosperetis hostesque populi Eomani Quiri- 
 A-A-O-G A A-0-O-A-G A-O-A-G A-A-G A-G A-A-G A- A- 
 
 tium terrore, formidine morteque adficiatis. Sicut verbis nuncupavi, 
 0-G A-A-G A-A-O-G A-O-G A-0-O-A-G A-G A-G A-O-A-G 
 
 ita pro re publiea, exercitu, legionibus, auxiliis populi Eomani 
 A A A - A-O-G A-A-O-G A-A-O-G A-A-G A-G A-A-G 
 
 y^ ^L \J a^ \i^ \^ _ ^m — • ^^ ^^ \J ^£/ — ^y P^ — ^ ^y JL ~ \^ ^L 
 
 Quiritium legiones auxiliaque hostium mecum deis manibus 
 A-A-O-G A A-G A A-O-G A-O-G A-G A-G A-O-G 
 
 I -1^ 
 
 1 
 
 \^ ' v-* 
 
 ^ 
 
 Tellurique 
 
 d e V V e 0. 
 
 A-O-A-G 
 
 A 
 
 A- 
 
 G 
 
 The Dedicatory Dipodt. 
 
 § 29. Latin dedicatory inscriptions in all ages oifer a favorite field 
 for the Martian dipody as well as the Martian distich, or Saturnian. The 
 oldest monuments indicate the dominance of the single dipody, the later 
 abound in both single and Saturnian types. The rhythmical technique is 
 sometimes crude. 
 
 a. The Praenestine Fibula, C. I. L. XIV. 4133 (Lindsay 18). 
 
 ^ \^ .1- X \j ' \^ .1.1 ^ \y ' \^ ^ 
 
 Manios med fefaked Numasioi. 
 
 A-O-G A A G I A A G 
 
 [ 29 ] 
 
Cf. Carmen Arvale 1. 
 
 ± i A ^1 A 1 o 
 En nos Lases iuvate. 
 
 A A A-G|A-A-G 
 
 b. The Duenos Bowl, Egbert, Lat. Inscr. 16. 
 
 Duenos med feced en Manom 
 A-G A A-G|A-A-G 
 
 c. The Praenestine Jewel-boxes, C. I. L. XIV. 4094 fE. (Lindsay 30). 
 
 Dindia Macolnia fileai dedit 
 A-0-G| A-A-0-G°||A-0-G| A-G 
 
 Novios Plautios med Eomai fecid 
 
 A2-G°| A-O-GII A A-G | A-G 
 
 CoilPEECATIO. 
 
 § 30. Aulus Gellius preserves for us an interesting example of the 
 ancient rhythm (Nodes Atticae XIII. 23) : Gomprecationes deum im- 
 mortalium, quae ritu Eomano fiunt, expositae sunt in libris sacerdotum 
 populi Eomani et in plerisque antiquis orationibus. In his scriptum est : 
 
 A ^111^ II Xiw^l 1 i^ 
 Luam Saturni, Salaciani Xeptuni 
 
 A-G I A-A-G||A-A-G| A-A-G 
 
 i ^i 11^ II v^i...^! ±1^ 
 Horam Quirini, Virites Quiiini 
 
 A-G| A-A-G ||A-A-0-G| A-A-G 
 
 1 ^ I Xl^ll^iw.=.lA±^ 
 Maiam Volcani, Heriem lunonis 
 
 A-G I A-A-GII A-G I A-A-G 
 
 lil i^ll>^iw_l oli^ 
 Moles Martis, Nerienemque Martis. 
 
 A-Gl A-G°|| A-O-A- G I A-G 
 
 The Persistence of the Ehythm of Contkasted Accext. 
 
 § 31. We shall not be surprised to find the Martian dipody the indi- 
 genous stock in trade of the Eoman masses throughout all subsequent 
 history. The occasional dash of quantitative structure is often accidental 
 and always irrelevant. 
 
 [ 30 1 
 
a. Varro de L. L. YI. 68: Sic triumphare appellatum, quod cum im- 
 peratore milites redeuntes clamitant per urbem in Capitolium eunti : 
 
 Ail A 1 * 
 lo Triumphe 
 
 A-G| A-A-G 
 
 b. Suetonius de lulio 49. 
 
 ±wi iilAiilllwl ill^i 
 Gallias Caesar subegit, Nicomedes Caesarem 
 
 A-O-G A-G I A-A- G° || A^-G-A- G°| A-O-G 
 
 L^ ±i| ± A± illl Aiillwi 
 Ecce Caesar nunc triumphat, qui subegit Gallias 
 
 A-G A-G I A A A G || A AA-G°|A-0-G 
 
 iwlill Al illlAlj-llwi 
 Nieomedes non triumphat qui subegit Caesarem 
 
 A-O-A-G I A A A G II A - A A- G°| A-O-G 
 e. Ibid. 80. 
 
 l.i. ioll A± i Hi* 1 ±|±yi 
 
 Gallos Caesar in triumphum ducit, idem in curiam 
 A-G A-G |A- A A-G ||A-G A A| A-O-G 
 
 1 .^ ± i I ±wwl illii lillli 
 
 Galli bracas deposuerunt, latum clavum sumpserunt 
 A-G A-G° I A-0-O-A-G || A-G A - G | A - A - G 
 
 d. Ibid. 
 
 ii v^lwlilll^ill.^ li|l«/i 
 
 Brutus, quia reges eiecit, consul primus f actus est 
 A-G A A-G I A- A-G II A-G A- G | A- G A 
 
 1 wl^lwilliilli il.^l±o ± 
 
 Hie, quia consules eiecit, rex postremo factus est 
 A A A-O-G lA-A-GII A A A-G j A-G A 
 
 e. Ibid. 51. 
 
 lii±l|±lill± i ±1 l±wi 
 
 Urbani servate uxores, moechum calvum adducimus 
 A-A-G A-A I A-A-G || A G A | A- A-O-G 
 
 [ 31 ] 
 
1 1 1wI1_.^1j.||1 liill^i 
 
 Aurum in Gallia effutuisti, hie sumpsisti mutuum 
 
 A A A-0 \ A-0-O-A-G || A - A A-G°| A-O-G 
 
 f. Aul. Gell. XV. 4. 
 
 Coneurrite omnes augures ham spices 
 A- A-0 I A-G°||A^-0-G |A-A-0-G 
 
 1 1 I A^yl ^ 111 1 I 1 A ^ 
 
 Portentum inusitatum conflatum est recens 
 
 A- A lA-0-O-A-G II A -A | A- A-G 
 
 1 1^11 vLl^lli^llo 1 
 Nam mulos qui fricabat consul factus est. 
 
 A A-G| A-AA-GJI A-G| A-G A 
 
 g. Marcellus de Med. 171 G. 
 
 1 ^ v., • v.^1 i ^ 1 i 
 Terram teneo herbam lego 
 
 A-G A G|A-G A-G 
 
 lyl ^lii..^^ 
 Prosit ad quod te colligo. 
 
 A- G A G I A- A-O-G 
 
 Ibid. 71. 
 
 i A ^1 i o 
 Xec parit inula 
 
 A A-G I A-G 
 
 1 l^\ 1 1 ^ 
 Nee lapis fert lanam 
 
 A A-G|A-A-G 
 
 ± 1 lilAi ±^ 
 Nee huic morbo caput creseat 
 
 A A A-G|A-G A-G 
 
 1 I ^\ 1 1 J. 
 
 Si crerit tabescat. 
 
 A - A-G I A-A-G 
 
 [ 32 ] 
 
Ibid. 154. 
 
 1 1 i I 1 _ 1 i 
 
 Pastores te invenerunt 
 
 A-A-G°| A-O-A-G 
 
 Sine ma nib lis collegerunt 
 A - A G° I A-O-A-G 
 
 V...I w A ^1 1 1 ^ 
 Sine foco coxerunt 
 
 A - A-G| A-A-G 
 
 ^>_' \-/ — ^y ^ 1^^ ' J, i 
 
 Sine dentibus comederunt. 
 
 A A-O-G I A A-G 
 
 h. Vopiseus, Vita Aurel. 6. 
 
 ± o 1 «, 
 
 Mills, mille, 
 
 A-G A-G 
 
 Unus homo, 
 A-G A-G 
 
 i «, 1 * 
 
 Mille, mille, 
 
 A-G A-G 
 
 i >i, i «, II 1 
 mille, mille, mille decollavimus 
 
 A-G A-G||A^-G°|A-0-A-0-G 
 
 mille, mille, mille decollavimus 
 A-G A-G II A-G° I A-0-A-O-G 
 
 Ivi- iv:,||A^ 1 1 lil^ 
 mille, mille, bibat qui mille occidit 
 
 A-G A-G II A-G A A | A-A-G 
 
 1^ i.il±.i.v!..^||±.^ 1^11 wi 
 Tantum vini nemo habet quantum fudit sanguinis. 
 
 A-G A-G|A-G A-GIIA-G A-G°| A-O-G 
 
 Ibid. 7. 
 
 Mille Francos, mille semel Sarmatas occidimus 
 A-G A - G I A-G A-G°|| A=-0-G| A-A-0 - G 
 
 ±v:,l«,|lo±*l|l«,l.^l±w^ 
 
 Mille, mille, mille, mille, mille Persas quaerimus. 
 A-G A-G I A-G A-G II A-G A-G°| A-O-G 
 
 3partianus, Vita Hadriani 16. 
 Floroi poetae scribenti ad se : 
 
 [ 33 ] 
 
■I ^ 
 
 Ego 
 
 nolo Caesar esse 
 
 A-(f 
 
 A-GI A-G A-G 
 
 i ^ L^ \ 1 11^ 
 Ambulare per Britannos 
 
 A-0-A-G|A A A-G 
 
 >^ • wi ol 1 i 1 i 
 
 Latitare per Germanos 
 A-A-G| A A A-G 
 
 Scythicos pati pruinas 
 A G A-G I A- A-G 
 
 rescripsit Hadrianus : 
 
 l ^ 1 jl\ 1 ^ ±«i- 
 
 Ego nolo Floras esse 
 A-G A-G I A-G A-G 
 
 Ambulare per tabernas 
 A-0-A-G| A- A A-G 
 
 Latitare per popinas 
 
 A -A-G I A -A A-G 
 
 Culices pati rotundos. 
 A G A-G I A- A-G 
 
 J. Pervigilium Veneris (Buecheler-Eiese I. 1. 170) : 
 
 V. 1: C'l-as amet qui numquam amavit, quique amavit eras amet ! 
 A - A-G A - A I A- A-G II A- A A - G | A - A-G 
 
 IAa 1 ilvtl^ lliolollc-i 
 V. 2: Ver novum, ver iam canorum; vera natus orbis est, 
 
 A- A-G A A|A-A-G || A-G A-G | A-G A 
 
 lo li^lAi^lli^i-i^ll^^ 
 V. 3 : Vere concordant amores, vere nubent alites, 
 
 A-G A-A-G |A-A-G||A-G A-G° |A-0-G 
 
 [ 34 ] 
 
V. 4: Et nemus comam resolvit de maritis imbribiis. 
 A-A-G A-G I A-A-G||A -AA-G°| A-O-G 
 
 V. 5 : Cras amorum copulatrix inter umbras arborum 
 A - A A-G° I A-0-A-G||A-G A G° | A-O-G 
 
 V. 6 : Implicat casas virentes de flagello myrteo, 
 A-O-G A-G I A-A-G || A- A A-G° | A-O-G 
 
 .1 Alill* i^lllv:, li^'lA^ 
 
 V. 7: Cras Dione iura dicit fiilta sublimi throno 
 
 A AA-G|A-G A-G II A-G A-A-G| A-G 
 
 The Cheistiax and Eomanic Dipodt. 
 
 § 33. With tlie decline of Greek influence in Eoman art, and notably 
 with the emergence of the indigenous rhythm under Christian auspices, the 
 native Martian dipody becomes again conspicuous in our tradition, and 
 begins to lay the foundations for Eomanic versification. As the fetters of 
 Hellenizing orthodoxy become looser, metrical theory condescends more 
 freely to a recognition of the non-quantitative rhytlmi of the common herd. 
 It is not surprising therefore that during the period of the Christian 
 hymns we get our best technical characterization of the immemorial tripudic . 
 rhythm of the Latin race as contrasted with that disguised mode which it 
 assumed in adapting itself to the shorter quantitative feet of Greek metric. 
 It will be worth our while to go back for a moment and note the earlier 
 characterizations of the non-quantitative tripudium. 
 
 There is no trace of the Hellenizing ban ia the traditional epigram of 
 the poet Naevius, Gellius, N, A. 1. 2i: 
 
 Immortales mortales si foret fas flere, 
 Flerent divae Camenae Naevium poetam. 
 Itaque postquam est Orchi traditus thesauro, 
 Obliti sunt Eomae loquier lingua Latina ! 
 
 But Ennius already begins to abjure as rude and inartistic the tradition 
 of the fathers, Annates 313 : 
 
 Scripsere alii rem 
 Versibus quos olim Fauni vatesque canebant, 
 Cum neque Musarum scopulos 
 
 nee dicti studiosus quisquam erat ante hune. 
 
 [ 35 ] 
 
Here the true Muses are Greek, and the only artistic rhythm {dicti 
 studiosus) is quantitative. Henceforth the non-quantitative tripudium is 
 indoctum, incomptum, vulgare. Horace cannot find words too strong to 
 express his artistic abhorrence of the unhellenized tripudium, Epist. II. 156 : 
 
 Graeeia capta ferum victorem cepit et artes 
 Intulit agresti Latio : sic horridus ille 
 Defluxit numerus Saturnius et grave virus 
 Munditiae pepulere: ,sed in longum tamen aevum 
 Manserunt hodieque manent vestigia ruris ! 
 
 But the technical characterization of the non-quantitative rhythm becomes 
 more precise as we reach the period of the Christian hymns. Servius, 
 commenting on Georg. II. 385, 
 
 Nee non Ausonii, Troia gens missa, coloni 
 Versibus incomptis ludunt risuque soluto 
 
 remarks : Hoc est etiam Eomaui haec sacra celebrant et canunt : nam 
 hoc est 'versibus incomptis ludunt', id est carminibus Saturnio metro 
 compositis, quod ad rhythmum solum vulgares componere consuerunt. It 
 is hard to keep one's patience when we observe the efforts of Hellenizing 
 metric to explain away this simple testimony to the natural, non-quanti- 
 tative, accentual rhythm of the Saturnian verse. And not only that: the 
 little word solum teaches us unequivocally that all other Latin verse is 
 'also rhythmic like the Saturnian, but besides that, quantitative. Marius 
 Victorinus, Diomedes, and the Venerable Bede leave no doubt as to the 
 reality of the distinction between the non-quantitative rhythm of the 
 masses and the quantitative rhythm of Hellenizing orthodoxy : 
 
 Diomedes, Keil I. 473 Rhythmus est versus imago modulata servans 
 numerum syllabarum positionem saepe sublationemque contemnens. Metrum 
 est pedum iunctura numero modoque finita ; vel sic, metrum est compositio 
 pedum ordine statute decurrens modum positionis sublationisque conservans. 
 Accordingly, rhythm is a matter of the sequence and maintenance of 
 tones; metre is the same, with the added feature of quantitative feet. 
 Clarius sic, metrum est quod certis pedum quantitatibus qualitatibusque 
 rhythmo discriminatur ; distat enim metrum a rhythmo, quod metrum 
 eerta qualitate ac numero syllabarum temporumque flnitur certisque pedibus 
 constat ac clauditur, rhythmus autem temporum ac sjdlabarum pedumque 
 eongruentia infinitum multiplicatur ac profluit. 
 
 Marius Victorinus makes the distinction clearer between the quanti- 
 tative and non-quantitative tripudium, and assigns the latter to the non- 
 
 [ 36 1 
 
Hellenizing poetae vulgares, Keil VI. 206 : Metrum quid est ? Eei 
 euiusque mensura. Metrum poeticum quid est? Versificandi disciplina 
 certa syllabarum ac temporum ratione in pedibus observata. Metrum unde 
 dictum? Quod veluti mensuram quandam praestituat, a qua siquid plus 
 minusve erit, pes sive versus minime constabit. Metro quid videtur esse 
 consimile. Rhythmus. Ehythmus quid est? Verborum modulata com- 
 positio non metrica ratione, sed numerosa scansione ad indicium aurium 
 examinata, ut puta veluti sunt cantica poetarum vulgarium. Ehythmus 
 ergo in metro non est? Potest esse. Quid ergo distat a metro? Quod 
 rhythmus per se sine metro esse potest, metrum sine rhythmo esse non 
 potest; quod liquidius ita deflnitur, metrum est ratio cum modulatione, 
 rhythmus sine ratione metrica modulatio; plerumque tamen casu quodam 
 invenies rationem metricam in rhythmo, non artiflcii observatione servata, 
 sed sono et ipsa modulatione ducente. Accordingly, the native non-quanti- 
 tative rhythm of Latin speech and verse is modulatio sine m.etrica ratione, 
 while Latin quantitative verse is modulatio cum metrica ratione: all Latin 
 verse is tripudie, either without quantity, as the native non-Hellenizing 
 verse of the poetae vulgares, or with quantity, as the Hellenizing verse of 
 the docti poetae. Thus Hellenizing pragmatism from Caesius Bassus to 
 Leo has missed the pulsating heart of Latin metric, while chasing the 
 irrelevant idols of the orthodox faith. Scandere and scansio have only 
 meaning for tripudie rhythm, where tonic heights and depths have to be 
 rhythmically sealed because they follow each other in rhythmical arrange- 
 ment (modulatio) , and where therefore 
 
 Non quivis videt immodulata poemata index. 
 Horace's proud boast, 
 
 Princeps Aeolium carmen ad Italos 
 Deduxisse modos, 
 
 implies a greater feat than a mere juggling with caesuras, and longs and 
 shorts : it was the feat of adapting these features of quantitative metric to 
 the tonic slopes of the modulated Latin tripudium (deducere ad Italos 
 modos). 
 
 But it is the Venerable Bede who brings the non-quantitative tripudium 
 into immediate connection with the Christian hymns, and shows us at the 
 same time how the Sacred Tripudium is quite indifEerent to quantitative 
 conditions, but lends itself indiscriminately to iambic or trochaic verse-beat : 
 Keil VII. 358 Videtur autem rhythmus metris esse consimilis, quae est 
 verborum modulata compositio, non metrica ratione, sed numero syllabarum 
 ad iudieium aurium examinata, ut sunt carmina vulgarium poetarum; 
 
 [ 37 ] 
 
et quiclem rhythmiis per se sine metro esse potest, metrum vero sine 
 rhytlinio esse non potest, quod liqiiidius ita definitur: metrum est ratio 
 cxim modulatione, rhythmus modulatio sine ratione. Plerumque tamen 
 casu quodam invenies etiam rationem in rhythmo, non artifici modera- 
 tioiie servata, sed sono et ipsa modulatione ducente, quem vulgares poetae 
 necesse est rustice, docti faciant docte; quo modo et ad instar iambici 
 metri pulcherrime factns est hymnus ille praeclarus, 
 
 Eex aeterne domine, 
 A AA-G] A G 
 
 Rerum creator omnium, 
 A-G A-A-G°| A-O-G 
 
 Qui eras ante saecula, 
 A A-G A-G°| A-O-G 
 
 ± ^ i L^ \ l^ ^ 
 Semper cum patre filius, 
 
 AG A -A-G°|A-0-G 
 
 et alii Ambrosiani non pauci. Item ad formam metri trocliaici canunt 
 hymnum de die iudicii per alphabetum, 
 
 Apparebit repentina 
 A-O-A-G I A A-G 
 
 Dies magna domini, 
 A-G A-G I A-G 
 
 Fur obscura velut nocte 
 A A A-G I A-G A-G 
 
 1 _ 1 ^ I i V. ^ 
 
 Improvisos occupans. 
 A-0-A-G°| A-O-G 
 
 Thus we are brought back again to our Martian dipody wMch Iras put off 
 all trace of its Greek dress, except the iambic and trochaic verse-beat, and 
 the pathway of evolution to the terza rima of Dante is clear and direct. 
 
 [ 38 ] 
 
Before returning to the pre-Hellenizing period, let us observe some of 
 the typical forms of this Eomanic tripudium, which has laid aside the 
 tripudic verse-beat of the olden time and taken on the iambic and trochaic 
 verse-beat of the Hellenizing period: 
 
 u,. Hadrian, ap. Spartian. (Vita Hadriani 35). 
 
 Animula, vagula, blandula 
 A- A- G A-G°| A-O-G 
 
 Hospes comesque corporis 
 A-G A-A-G°| A-O-G 
 
 1 1 J/i «/ I ± A_o 
 
 Quae nunc abibis in loca 
 
 A A A- A-G I A- A-G 
 
 1 w'v.* wi w«, I iwvv 
 Pallidula, rigida, nudula 
 
 A A-G A -G° I A-O-G 
 
 Nee ut soles dabis iocos. 
 A- A A-G|A-G A-G 
 
 j8. Hilarius (Wackernagel I. 11). 
 
 " A ^ 1 1..^ 1 1 ^o 
 Lucis largitor splendide 
 
 A-G A-A-G°| A-O-G 
 
 ± i X 1 i I 1 WVi, 
 
 Cuius sere no lumine 
 A-G A-A-G°| A-O-G 
 
 ± l>i,lili^o 
 Post lapsa noctis tempera 
 
 A A-G A-G°| A-O-G 
 
 I ^ 11 ^ \ I ~^ ^ 
 Dies refusus panditiir 
 
 A-G A-A-G°| A-O-G 
 [ 39 ] 
 
y. Ambrosius (Wackernagel I. 16). 
 
 I 1^ 1 J. I i w ^ 
 Aeterne rerum conditor, 
 
 A-A-G A-G° I A-O-G 
 
 Noctem diemque qui regis, 
 A-G A-A-G I A-A-G 
 
 Et temporum das tempora, 
 A- A 0-G I A- A-O-G 
 
 A 1 ^^ I llw^ 
 TJt alleves fastidium. 
 
 A -A-O-G lA-A-O-G 
 8. Prudentius (Wackernagel I. 34). 
 
 ± A i ± i I A li 
 
 Da puer plectrum choreis 
 
 A-A-G A G I A-A-G 
 
 1 A ^ U ±y ^ 
 TJt canam fidelibus 
 
 A-A-G I A- A-O-G 
 
 lo i oil vli^ 
 
 Dulce carmen et melodum 
 A-G A-G I A A A-G 
 
 1 ^ 1 I 1 1 ^o 
 Gesta Christi insignia. 
 
 A-G A |A-A-0-G 
 
 i vLlvl/livi/li 
 
 Hunc Camena nostra solum 
 A A A-G I A-G A-G 
 
 1 O 1 I 1 ^ vLi 
 
 Pangat, hunc laudet lyra. 
 A-G A I A-G A-G 
 
 e. Portunatus (Wackernagel I. 61). 
 
 1 c, i v:/ I 1 v^.lill 1 ...^ ! i ± v^ i 
 
 Pange lingua gloriosi proelium certaminis, 
 A-G A- G |A-0-A-G°||A2-0-G | A- A-O-G 
 
 [ 40 ] 
 
Et super crucis tropaeo die triuniphuin nobilem 
 A - A-G A-G I A - A-G||A - A A - G° | A-O-G 
 
 Qualiter Eedemptor orbis immolatus vicerit 
 A-O-G I A-A - G A-G°|| A^-O-A-G" | A-O-G 
 
 ^ Beda Venerabilis (Konigsfeld I. 84). 
 
 Hymnum canentes martyrum 
 A G A-A-G°| A-O-G 
 
 ;± 1 v:, 1 i w 1 w i 
 Dicamus innoeentium, 
 
 A-A-G°| A-0-A-O-G 
 
 1 ± O 1 ^ I ± Wi 
 
 Quos terra flentes perdidit, 
 A A-G A-G°| A-O-G 
 
 ± i I I ^ \ 1 ^^ 
 Gaudens sed aethra suseipit 
 
 A-G A A-G°|A-0-G 
 
 When we compare our Martian dipody of the Carmen Arvale with this 
 Christian descendant, we note that the victorious iambico-troehaic verse- 
 beat of the Greek muse has entirely replaced the familiar old monopody 
 with the double thesis (A- A-G), and aeatalexis takes its place in the 
 last foot : 
 
 vi/ ^ \!/ ^ I \I/ J. \:/ 
 
 Carm. Arv. : Enos Lases iuvate 
 A-G A-G |A-A-G 
 
 1 * 1 «/ I 1 v^ i 
 
 Prudentius: Psallat omnis angelus. 
 A-G A-G°| A-O-G 
 
 The Maetian Distich or Satuenian : The IiirscEiPTioNs. 
 
 § 33. The final development of the Martian distich was attained in the 
 laudatory inscriptions on monuments and tombs, which constituted a dis- 
 tinct species of archaic art, and became the immediate training-school of 
 
 [ 41 ] 
 
the literary Saturnian. The successive stages in the evolution of the 
 distich may be clearly traced in the successive types : 
 
 A. Novum vetus vinum bibo 
 
 A-G A-G|A-G A-G || 
 
 Novo veteri morbo medeor. 
 A-G A-G| A-G A-G 
 
 B. Hiberno pulvere verno luto 
 
 A-A-G° A-O-GI A-G A-G°ll 
 
 Grandia farra camille metes. 
 A^-O-G A-G I A- A-G A-G 
 
 C. Neve luem ruem Marmar 
 
 A-G A-G I A-G A-G || 
 
 Sinas incurrere in pleoris 
 A - A A-0-G|A- A-G 
 
 Jl ^ i ^ I A 1 * II 
 
 D. Nequid fraudis stuprique 
 
 A-G A-G I A-A-G ||' 
 
 s!/ — \./ v:/ I v./ \-/ ^ 
 
 Ferocia pariat 
 A-A-O-Gl AG 
 
 ± ^ A ^ I A 1 * II 
 
 E. Virum milii Camena 
 
 A-G A-G|A-A-G°|| 
 
 1 ^^\1 1 ^ 
 Insece versutum 
 
 A2-0-G| A-A-G 
 
 Thus the trend of artistic evolution in the distich is towards procatalexis 
 at the close of each dipody, and a contrast of double paracatalexis and 
 acatalexis at the beginning of each dipody. The Carmen Arvale represents 
 the midway stage in the process, and the literary Saturnian its culmination. 
 
 [ 42 1 
 
It remains for us to complete our survey of the history of the Sacred 
 Tripudium, as it appears outside our literary tradition, by examining the 
 rhythmical inscriptions of the archaic period. We shall then have cleared 
 the way for entering the portals of continuous literary tradition, which is 
 marked by the names of Livius Andronicus, Naevius, Bnnius, Lucretius, 
 and Vergil. 
 
 ,a. The Faliscan Cooks, C. I. L. XI. 3078 (Buecheler, Carm. Lat. 
 Epig. I). 
 
 1 w • w^ A i lllo ll± 1 i lAl ^ 
 V. 1: Conlegium quod est aciptum aetatei agendae 
 
 A A - G A - G |A-A-G ||A- A-G |A-A-G 
 Cf . Appius Claudius : 
 
 Inimicus si es commentus nee libens aeque 
 A A-G A-G|A- A-Gi A-A-G |A-G 
 
 l^^ ^^ ±±i|Alill±lv:/|J/i 
 
 V. 2: Opiparum ad veitam quolundam festosque dies 
 A-A-G A-A-G |A-A-G ||A-A-G|A-G 
 
 1 A i IliwillAi o I 1 i ^ 
 V. 3 : Quel soueis argutieis opidque Volcani 
 
 Cf. Appius Claudius: 
 
 Amicum cum vides obliviscere miserias 
 A-A-G I A - A-G°||A^-0-A-0-G |A-A- G 
 
 V. 4: Condecorant saipisume comvivia loidosque 
 A A-G I A-A-0-GII A-A-0-G|A-A-G 
 
 Cf . Carmen Arvale : 
 
 1 1^111^ II is^iwili i 
 
 Semunis alternei advocabitis conetos 
 A - A-G I A-A - G° II A^-O-A-O-G | A - G 
 
 Such types reveal the tripudic distich in clear light. Each word represents 
 the tripudic foot. So Livius, Odys. 5 : 
 
 [ 43 ] 
 
1 iwiU i ill i^ill i i 
 
 Argenteo polybro aureo eclutro 
 
 A-A-G|A-A-G°||A2-0-GlA-A-G 
 
 and Naevius, Bell. Pun. 21 : 
 
 1± v^ilX 1 illl ±ol±l i 
 
 Bicorpores Gigantes magnique Atlantes 
 A-A-O-G jA-A-G II A-A-G | A-A-G 
 
 A i 1 IvL ± i II 1 w _ Iw i I i i. 
 V. 5: Ququei hue dederunt imperatoribus summis 
 
 A-G A |A-A-G°|| A^-0-O-A-O-G I A- G 
 
 Of. Carmen Arvale 4. 
 
 I .1. iilvLiili^'wvLi lii 
 V. 6: Utei sesed lubentes bene iovent optantes 
 
 A-G A-G|A-A-G|| A A-G | A-A-G 
 
 Here we have the double paraeatalectic expansion in the first foot, which is 
 such a favorite in the literary distich : 
 Liv. Andr., Odys. 27. 
 
 1 i. wl.wlvHillid-ilAii 
 
 Topper facit homones ut prius fuerunt 
 A-G A |A-A-G||A-A-G |A-A-G 
 
 b. Mummius Triumphator, C. I. L. I. 541. 
 
 V. 1 : Ductu auspicio imperioque||eius Achaia capta 
 A-G A- A-G°| A-0-O-A-G ||A-G A-A-G | A-G 
 
 with crude expansion of the second tripudium in the first dipody. 
 
 vL±.i.|i±i||±i wlv..:.lA± i 
 
 V. 2: Corintho delete Eomam redieit triumphans 
 A-A-G I A-A-G II A-G A - G | A-A - G 
 
 V. 3 : Ob hasce res bene gestas quod in bello voverat 
 A - A-G A I A - A-G II A G A-G°|A-0-G 
 
 1 i^:,|il^:.||iwi|i±i 
 
 V. 4 : Hanc aedem et signu Herculis Victoris 
 A A-G |A-A-G°J| A=-0-G| A-A-G 
 
 [ 44 ] 
 
Cf. Naevius, Bell. Pun. VI. 46. 
 
 Superbiter contemptim conterit legiones 
 A-A-0-G| A-A-G°|| A^-O-GI A-A-G 
 
 1 W i i I 1 v^ ^ 
 
 V. 5: Imperator dedicat. 
 A-0-A-G°| A-O-G 
 
 The last line reverts to the simple Martian dipody. 
 
 c. The Vow of the Vertuleii, C. I. L. I. 1175. 
 
 ± 1 vlili 1.1. II ± w il±i.=. 
 
 V. 1 : Quod re sua difeidens aspere aflicta 
 A AA-G|A-A-G° ||A=-0-G| A-A-G 
 
 Throughout the inscription we note a close adherence to the literary 
 type as found in Livius and Naevius : 
 
 d-i A.:.|J,lolliw«<|lli 
 
 Virum mihi Camena insece versutum. 
 A-G A-G| A-A-G°||A^-0-G| A-A-G' 
 
 vLi Ai 11 l.:.||li lU±i 
 V. 2: Parens timens heic vovit voto hoc soluto 
 
 A-G A-G I A - A-G || A-G A |A-A-G 
 
 V. 3: Decuma facta polucta leibereis lubetes 
 A G A-G| A-A-G°||A^-0-G |A-A-G 
 
 V. 4: Donu danunt Hercolei maxsume mereto 
 A-G A-G° I A-0-G°|| A^-O-G I A-G 
 
 «!, .i 1 ± i II i ill! .i. I 1 1 i 
 V. 5: Semol te orant se voti crebro condemnes 
 
 A-G A-A-G |A-A-G|| A-G | A-A-G 
 
 d. The Oldest Scipionic Inscription, G. I. L. I. 33. 
 
 1 l^ilwi|illv./.^ll .^ 
 
 V. 1: Hone oino ploirume cosentiont Eomai 
 A -A-G°| A-0-G||A-A-0-G I A G 
 
 Y.2: Duonoro optumo fuise viro 
 A-A-G°| A-0-G||A-A-G|A-G 
 [ 45 ] 
 
The four word-feet reveal the Martian tetrapody in clear relief. The 
 addition of viroro (Grotefend, Eitsehl) to the verse is impossible and 
 unnecessary. 
 
 Cf. Cicero, Cato Maior 17. 61 : Apex est autem senectutis auctoritas. 
 Quanta fuit in L. Caecilio Metello, quanta in Atilio Calatino, in quern 
 illud elogium : 
 
 Unicum plurimae consentiunt gentes 
 A=-0-G° I A-O-G II A-A-O-G | A-G 
 
 Populi primarium fuisse virum. 
 A G I A-A-O-G II A- A-G I A-G 
 
 V. 3 : Luciom Scipione filios Barbati 
 A--0-G°| A-0-A-G°|| A^-G-G | A- A-G 
 
 L^L^ILL^WL v^'v^lvli ^ 
 V. 4 : Consol censor aidilis hie fuet apud vos 
 
 A-G A - G I A- A-G || A A |A-A - G 
 
 The order of the offices had to be changed in order to secure the regular 
 procatalectic effect at the close of the dipody. In the same way apud vos 
 as a Arord-group is procatalectic (A-A-G). 
 
 1 l^llyol|v.^tv....wl*|lv^ 
 
 V. 5 : Hec cepit Corsica Aleriaque urbe 
 
 A- A-G°| A-0-G°|| A-0-A-G|A-G 
 
 V. 6: Dedet tempestatebus aide mereto. 
 A^-G°| A -0- A-O-G ||A-G| A G 
 
 The additions of Eitsehl, Grotefend, and Buecheler are therefore unnec- 
 essary, and Leo's missing diaeresis is imaginary {Satiiiii. Vers 4.5, n. "3). 
 
 e. The Second Scipionic Inscription, C. I. L. I. 30. 
 
 1 iw^llv^^lll^^lil.^ 
 
 V. 1 : Cornelius Lucius Scipio Barbatus 
 A-A-0-G°| A-0-G°||A-0-(;| A-A-G 
 
 li wlwlll^lll^llwlv^i M- 
 
 V. 2 : Gnaivod patre prognatus fortis vir sapiensque 
 A-G A I A- A-G II A-G A I A A-G 
 
 [ 46 ] 
 
1^ ±v:-li±i||Aiw*Ui 
 
 V. 3: Quoius forma virtutei parisuma fiiit 
 A- G A-G I A-A-G || A-A-O-G |A-G 
 
 ii ±o|±±^||i wlwlAl ^ 
 
 V. 4: Consol censor aidilis quel f uit apud vos 
 A-G A-G|A-A-G||A A | A-A-G 
 
 l±w<:.|l±ol|l v^^lli 
 
 V. 5: Taurasia Cisauna Samnio cepit 
 A-A-0-G|A-A-G°|| A^-0-G|A-G 
 
 V. 6: Subigit omne Loucanam opsidesque abdoucit 
 A G A-G I A-A-G°||A^-0-A-G |A-A-G 
 
 The tense changes to the present in order to secure the paracatalectic 
 movement (subigit = A-G) in the first tripudium. Hence the certainty 
 
 v^ s!/ ^/ 
 
 of the reading abdoucit, not abdoucsit. Leo's subigit is a tonic impossi- 
 bility in Latin rhythm: the Latin thesis cannot be divided against itself, 
 but must either be all thesis or all arsis. 
 
 Cf. Leo, Sat. Vers 36, n. 3. In like manner, facile, not facile, in v. 4 
 of the third Scipionic inscription: 
 
 w • ^v:/ i i Iw • wl i II 1 ^ i I 1 i^ 
 Facile factis superases gloriam maiorum 
 
 A-G A-G I A - A-G° || A^-O-G | A-A-G 
 
 Cf. Leo, ibid. 36, n. 3. 
 f. The Third Scipionic inscription, C. I. L. I. 33. 
 
 i v^"^oil«I,|X±^||l^^^|il^ 
 
 V. 1: Quei apiee insigne Dialis flaminis gesistei 
 A A-G A-A-G |A-A-G° || A=-0-G | A-A-G 
 
 1 1 iilv. 'x^ 1 i II Iwolv.. 'v..* 
 V. 2: Mors perfecit tua ut essent omnia brevia 
 
 A A A-G I A A-G° ||A2-0-G| A-G 
 
 J, ^ 1 v:,! 1 ± o II 1 v^v:, 1 c, |±w • ^i 
 
 V. 3: Honos fama virtusque gloria atque in gen ium 
 A-G A-Gj A-A-G°IIA2-0-GA-G |A A-G 
 
 [ 47 ] 
 
V. 4: Quibus sei in longa licuiset tibi utier vita 
 A A-G A-G| A-A-GII A-A-0-G|A-G 
 
 V. 5: Facile factis superases gloriam maiorum 
 
 A- G A-G I A A-G°|| A^-O-G | A- A-G 
 
 \j ^ \^ 
 On Leo's scansion facile, cf. v. 6 of the second Scipionic inscription above. 
 
 1 i d. i I 1 ^ • w M/ II 1 v^ ^k 'yi 
 
 V. 6: Qua re lubens te in gremiu Scipio recipit 
 A-G A-G I A A -G°||A^-0-G| A-G 
 
 Leo's "prosodische Licenz" in recipit is purely imaginary, when we put 
 ofi the blind-bridle of Hellenizing metric. 
 
 g. The Fourth Scipionic Inscription, C. I. L. I. 34. 
 
 V. 1 : Magna sapientia multasque virtutes 
 A-G I A-A-0-GII A -A-G | A-A-G 
 
 V. 3: Aetate quom parva posidet hoc saxum 
 A-A-G I A A-G°||A^-0-G | A 'A-G 
 
 Cf. Naevius, Bell Pun. VI. 46. 
 
 Superbiter contemptim conterit legiones 
 A- A-O-G I A-A- G° II A^-O-GI A-A-G 
 
 1^ l>^llli||i A^lvli,:, 
 
 V. 3 : Quoei vita def ecit non honos honore 
 A-G A-G I A-A-G || A- A-G | A-A-G 
 
 vL^A^Ii 1 iiliollli^ 
 V. 4 : Is hie situs quel nunquam victus est virtutei 
 
 A-G A-G I A A G || A-G A | A-A-G 
 
 ii iilll.:.lli±i|li.i 
 V. 5: Annos gnatus viginti is diveis mandatus 
 
 A-G A-G|A-A-G||A-A-G I A-A-G 
 
 [ 48 ] 
 
V. 6: Ne quairatis honor e quel minus sit mandatus. 
 A A A-G|A-A-G|| A - A G| A-A-G 
 
 h. The Caecilian Epitaph, C. I. L. I. 1006. 
 
 ± .i ± i Iw' W ± i II 1 i Uv..! Wi 
 
 V. 1: Hoc est factum monumentum Maarco Caicilio 
 A G A-G| A-A-G II A-G|A-A-G 
 
 1 J. Iw il w'v^i vtilliwlilii 
 
 V. 3: Hospes gratum est quom apud meas restitistei seedes 
 A-G A-G-A| A G A-G°| A^-O-A-Gj A-G 
 
 w'w i >!, .^li wt Will ± w ilwl w 1 i 
 
 T. 3: Bene rem geras et valeas dormias sine cura. 
 A G A-G I A A-G.°||A2-0-G| A A-G 
 
 i. The Protymus Epitaph, C. I. L. X. 5283. 
 
 1 ^ Ijl \ ± Will 1 i I wt W i 
 
 V. 1: Heic est situs Queinctius Gaius Protymus 
 A- G A-G°| A-O-GJI A-Gj A G 
 
 Al. iliilli ±v:,|Ali 
 
 V. 2 : Ameiceis summa qum laude probatus 
 A-A-G I A G II A A-G I A-A-G 
 
 1 * iw'wi liiillwiwi ^ IvLl i 
 
 V. 3 : Quoius ingenium deelarat pietatis alumnus 
 A G A- A G I A-A-G II A-A-G | A-A-G 
 
 ± i I 1-. w i II 1 i I A ± i 
 V. 4: Gaius Queinctius Valgus patronus. 
 
 A^-G°| A-O-GII A-G I A-A-G 
 
 j. The Epitaph of Eurysaces, C. I. L. I. 1013. 
 
 1 ilwtwli||±i|±Ai 
 
 V. 1: Est hoc monimentum Marcei Vergilei 
 
 AG A A-G I A-G II A-A-G 
 
 iwlilliillwlw lv:,|±li 
 
 V. 2: Burysacis pistoris redemptoris apparet 
 A--0- A - G I A- A- G II A A- G | A-A-G 
 
 [ 49 ] 
 
Kesume and Prospect. 
 
 § 3-1. Our introductory task is completed. We laave examined all extant 
 types of the pre-literary and extra-literary tripudium, and we have found 
 everywhere regnant the rhythmic law of the Latin tripudic verse-foot, which 
 excludes all reversal of its accentual rhythm at the hands of the G-G and 
 G-A-0 sequences, except after the powerful initial thesis of the tripudic 
 series or after the douhle accent of the tripudium, where such reversal is 
 neutralized. 
 
 Our next task will be to study the tripudic verse-foot as it adapts itself 
 to the needs of the Latin epic in the literary Saturnian and the quantitative 
 Hexameter. 
 
 Conclusion. 
 
 § 35. It is clear from the doctrine of the Sacred Tripudium that its 
 ancient and irrevocable laws have been exckided from the pale of scientific 
 and artistic comment. Hellenizing orthodoxy has only contempt for the 
 indigenous rhythm of Latin speech and verse, and while it could not escape 
 or violate it, it could very conveniently ignore it in all its propaganda. 
 (Consequently we have to learn about procatalexis and catalexis from the 
 hexameters of Vergil and Boethius, and about the Sacred Tripudium from 
 the by-ways and hedges of immemorial tradition from the Carmen Arvale 
 to the Divine Comedy. From first to last Latin and Eomanic accentual 
 and rhythmic practice is tripudic, while Hellenizing orthodoxy will discuss 
 nothing but Greek laws of musica,l accent and quantitative structure : 
 
 Si che laggiu non dormendo si sogna, 
 Credendo e non credendo dicer vero ; 
 Ma nell'uno e piu colpa e piii vergogna. 
 
 Voi non andate giii per un sentiero 
 
 Filosof ando ; tanto vi trasporta 
 
 L'amor dell'apparenza e il suo pensiero. 
 
 I 511 I 
 
UNIVERSITY OF VIRGINIA PUBLICATIONS 
 
 BULLETIN OF THE PHILOSOPHICAL SOCIETY 
 
 HUMANISTIC SECTION 
 
 Vol. I, No. 2, pp. 51-57 February, 1912 
 
 KELLER'S DER GRUNE HEINRICH: ANNA AND JUDITH AND 
 THEIR PREDECESSORS IN ROUSSEAU'S CONFESSIONS* 
 
 WILLIAM HARRISON FAULKNER 
 
 Gottfried Keller's great romance der grune Heinrich contains a richness 
 and a variety of psychological incident and experience, such as few novels 
 can lay claim to; these incidents and experiences are of varying inportance 
 in the life of the hero, Heinrich Lee. One among them, however, is of 
 such preeminent influence on the life and career of the hero, that no other 
 influence can be compared with it, save the mother's. This incident is the 
 hero's simultaneous love for two women — ^Anna, the schoolmaster's little 
 daughter, and Judith, the handsome, widowed cousin of the Lees. Indeed 
 it is scarcely exaggeration to say that the entire first part of the novel has 
 its very core and kernel in this double love and that this double love forms 
 the most important single part of Heinrich Lee's life. For five whole 
 years the kingdom of the hero's heart is a dual monarchy, over which 
 two women exercise divided sway. More than this, — like the wandering 
 skull of Albertus Zwiehan, — "also a dualist in a certain sense," — Heinrich 
 carries with him throughout his checkered career psychical meinentos of 
 this double love. Anna and Judith, Anna or Judith appears, disappears, 
 re-appears in his thoughts until Judith in the fiesh, though now no longer 
 of the flesh, returns to win, through renunciation of what the world calls 
 happiness, undivided sway over this wavering heart. 
 
 Aside from its importance in the hero's life, the situation is unusual 
 enough in the field of romance to deserve special attention. Few novelists 
 care to present a hero capable of loving two women at once. Certainly not 
 
 *A paper read before the Humanistic Section of the Philosophical Society, 
 October 13, 1911. 
 
 51 
 
52 UNIVERSITY OF VIRGINIA PUBLICATIONS 
 
 many could give to this situation a convincing truth and beauty. This and 
 more has Keller succeeded in doing. With all its delicate reserve the story 
 of Anna is of a realism no less plastic than that of Judith, — and a greater 
 achievement still, not merely the possibility but the necessity of such 
 a double love, when such a nature as Heinrich's is brought into contact 
 with two such women at the same time, is portrayed with convincing force. 
 An unusual plot or situation in a masterpiece incites the student of 
 literature at once to an investigation of possible sources. In considering 
 a novel which is so largely an autobiography of the author as is der grilne 
 Heinrich, one's first thought is naturally to find in the author's life some 
 similar experience. Through the loving and thorough work of Keller's 
 friend Bachthold we are so richly informed about every period of the poet's 
 life that we may safely exclude from it any experience not recorded or men- 
 tioned in Bachthold's biography or in the letters and Tagebuch-entries 
 given by him. Nowhere do we find any mention of such a double love 
 affair in Keller's own life, — this in spite of the statement in a letter to pub- 
 lisher Vieweg (April 26, 1850), excusing the slowness of composition of the 
 novel: "Ich habe noch nie etwas produziert, was nicht den Anstosz aus 
 meinem auszeren oder inneren Leben empfangen hat und werde es auch 
 ferner so machen." Indeed, in spite of this and similar utterances, Keller 
 was frequently indignant, especially after the appearance of the second 
 grilne Heinrich in 1880, at the insistance of certain critics on the auto- 
 biographic character of his novel. The first protest of this kind however is 
 to be found in a letter to his mother and sister, April 10, 1854, Mother 
 and sister had just read the completed first version, and Regula, vexed at 
 not finding herself mentioned in this, as it seemed to her, poetic autobi- 
 ography of her brother, had expressed the sensitive opinion that Gottfried 
 was ashamed of her. In his reply Keller instances especially the love- 
 stories as parts of the book which did not originate in his own experience : 
 "tJberhaupt ist lange nicht alles darin, was ich erlebt, so wie vieles auch 
 gar nicht wahr ist, wie z. B. die Liebesgeschichten." (Italics mine.) For 
 Anna, to be sure, there was in the poet's life his young cousin Henriette 
 Keller, whose untimely death at the age of twenty gave the entry in his 
 diary of May 14, 1838, — "Heute starb Sie!" and the exquisite little elegy 
 fifteen days later. Das Grab am Ziirichsee. Judith, however, is, Bacht- 
 hold tells us, "a form invented purely for the sake of contrast," and, if 
 we accept this statement, owes her very existence to the exigency of these 
 synchronous loves in the hero's heart. Even should she owe many of her 
 later traits to Keller's Heidelberg love, Johanna Kapp, — and the writer is 
 inclined to think she does, — ^the unusual is not the occurrence of these two 
 
Keller's der gbune heinkich 53 
 
 forms but their coincidence and nowhere in the poet's life do we find his 
 heart divided between two simultaneous loves. 
 
 Of course, in a consideration of this kind, poetic invention can never be 
 excluded. Character and incident in well-constructed fiction condition 
 each other mutually and the double love-affair may have originated in the 
 poet's mind as a necessary outcome of Heinrich Lee's peculiar personality. 
 If, however, we can point to a similar incident in the work of an author, 
 whose general influence on der grilne Heinrich is expressly acknowledged 
 by Keller, and can show not merely a general resemblance between the 
 two incidents, but almost exact similarity in numerous details, this will 
 be strong presumptive evidence of Keller's indebtedness to his brother 
 poet for the general outline, if not the idea of such a peculiar situation. 
 The object of this paper is to point to such an incident and to discuss its 
 resemblances and differences to Heinrich Lee's synchronous love for Anna 
 and Judith. 
 
 To the reader of der griine Heinrich there comes inevitably the thought 
 of Rousseau's Confessions as the prototype of such autobiographical novels. 
 Keller himself felt the influence of the Confessions on his novel and acknowl- 
 edges direct though general imitation in certain passages, when he says in 
 the essay " Autobiographisches" that "sogar das Anekdotische darin so gut 
 wie wahr sei, hier und da blosz, in einem letzten Anfluge von Nachahmungs- 
 trieb, von der konfessionellen Herbigkeit Rousseaus angehaucht." One is 
 strongly tempted to locate certainly renewed thought, if not renewed read- 
 ing of Rousseau's autobiography in the period, in which as Keller tells us 
 in the sarne essay, the thought first came to him, "einen traurigen kleinen 
 Roman zu schreiben iiber den tragischen Abbruch einer jungen Ktinst- 
 lerlaufbahn," — the year 1842-43. That he was at this time occupied with 
 the biographies of other poets is shown by the Tagebuch-entry of July 9, 
 1842. He had just read Hitzig's biography of Hoffmann and commented : 
 "Was mm Hoffmann und sein Leben selbst betrifft, so habe ich mich sehr 
 daran erbaut und gestarkt. Denn das Leben groszer Manner, welche dabei 
 unwandelhaft, klar imd ohne hindernde Schwachen ihren Weg gehen, ist 
 uns Vorbild, zur Bewunderung und Nachahmung reizend, so Sthiller, Jean 
 Paul und andere. Ein Leben wie Goethes,^ — ^ohne materielle Sorgen und 
 Kummer, — vermag uns mehr niederzubeugen als aufzurichten." 
 
 Whenever Keller read the Confessions, he might easily have found there ' 
 in the precocious childhood of his French-speaking compatriot, Jean 
 Jacques, an incident of remarkable similarity to the simultaneous love for 
 Anna and Judith in the heart of Heinrich Lee. This incident occupies only 
 a part of the twelfth year in the life of Rousseau, but is described with such 
 
54 UNIVERSITY OF VIRGINIA PUBLICATIONS 
 
 careful psychology of adolescence as easily to have offered Keller material 
 for the five years in "Green Henry's" life over which the double love for 
 Anna and Judith extended, especially when enriched from the author's 
 own experience of the decline and death of his cousin Henriette Keller. 
 But in other respects, both the resemblances and the differences between 
 the two incidents are such as more than to suggest Keller's indebtedness to 
 his fellow-countryman and predecessor in psychological analysis. 
 
 The incident referred to occurs, as has been said, in the twelfth year 
 of Rousseau's life, — in the Gamier Freres edition of the Confessions, I, 
 1, p. 21, seq. In the first place, Rousseau takes care to make clear that 
 the love for Mademoiselle de Vulson and la petite Mademoiselle Goton, 
 despite the latter's and his own tender age was love in its proper sense, and 
 to indicate as well that he, then as in later years, was in this respect, like 
 Keller's Albertus Zwiehan, — "also a dualist in a certain sense." "Je 
 connais"says he, "deux sortesd'amour,tr6s-distiacts,tr6s-rfels, et qui n'ont 
 presque rien de commun, quoique tres-vifs I'lm et I'autre, et tous deux 
 diff^rents de la tendre amiti^. Tout le cours de ma vie s'est partage entre 
 ces deux amours et je les ai meme ^prouves tous deux k la fois." Keller 
 is equally careful, though going more iato details, to show that sex has its 
 part in the tenderly described love-scenes between the twelve-year old 
 Heinrich and Anna, as well as ia the irresistible fasciaation which the full- 
 blossomed Judith exercises upon the senses of the adolescent boy. 
 
 The resemblances and differences between the two incidents are equally 
 interesting. Jean Jacques is in his twelfth year, Heinrich between twelve 
 and thirteen. Judith is " kaum zwei und zwanzig Jahre alt, ' ' Mademoiselle 
 de Vulson the same age ("on sent oe que c'est qu'un galant de onze ans 
 pour une fille de vingt deux"). Anna is just of Heinrich's age, the age of 
 little Mademoiselle Goton is not given, but she is evidently about that of 
 young Jean Jacques. Judith, however, except her age, possesses little in 
 common with Mademoiselle de Vulson. She loved, as she put it, the man 
 whom she saw already in the boy, — or, as Heinrich understood it, "suchte 
 Judit wieder etwas besseres in meiner Jugend, als ihr die Welt bisher ge- 
 boten." While Mademoiselle de Vulson, — "mais toutes ces friponnes sont 
 si aises de mettre ainsi de petites poup^es en avant pour cacher les grandes, 
 ou pour les tenter par I'image d'un jeu qu'elles savent rendre attirants." 
 ' Rather a contrast to Judith's Sprodigkeit toward the rest of the male sex, 
 and the contrast becomes still stronger, when Jean Jacques speaks of made- 
 moiselle de Vulson's care, "qu'elle prenait dem'employer k cacher d'autres 
 amours." 
 
Keller's der grune heinrich 55 
 
 While Keller's Anna and Judith as forms and faces stand out with a 
 very remarkable plasticity, Jean Jacques pays.no attention to the personal 
 appearance of Mademoiselle de Vulson and describes rather by the effect 
 she produces than by her features and figure the little Goton, who, in her 
 tSte-£t-t^tes with him, though these were "assez vifs," "daignait faire la 
 maitresse d'^cole." C'6tait, en verity," says Rousseau, "une singuli^re 
 personne que cette Mademoiselle Goton. Sans dtre belle elle avait une 
 figure difficile k oublier. — Ses yeux surtout n'^taient de son kge, ni sa 
 taille, ni son maintien. Elle avait un petit air imposant et fier, trfes- 
 propre k son r61e et qui en avait occasionn6 la pr^mi^re id6e entre nous. 
 Mais ce qu'elle avait de plus bizarre 6tait un m61ange,d'audace et de re- 
 serve difficile k concevoir." Compare this with Anna, "des Schulmeisters 
 Tochterlein, schlank und zart wie eine Narzisse, — mit goldbraunen Haaren, 
 blauen Auglein, einer etwas eigensinnigen Stirne und einem lachelnden 
 Munde," with her manner, her bearing, her treatment of Heinrich, and the 
 resemblance becomes striking. 
 
 The sentiment of the youthful lover to the elder and the younger mis- 
 tress, however, is in the Confessions just the reverse of "Green Henry's." 
 Heinrich Lee's love for Judith is one of the senses, while his relation to 
 Anna is touched only once by the physical, — in the tenderly described, 
 quite wonderful forest-scene after the Tell-festival, — and even then the 
 swelling tide of passion is frightened back by its own violence. Jean 
 Jacques, on the contrary, adores with reverence the twenty-two year old 
 de Vulson ("je me livrai de tout mon coeur, ou phitot de toute ma t^te, car 
 je n'^tais gu^re amoureux que par la"). About the little Goton, however, 
 he would have been, he says, jealous "en Turc, en furieux, en tigre." 
 When with the one love, Jean Jacques never has a thought for the other 
 ("avec aucune de deux il ne m'arrivait jamais de songer k I'autre"). 
 Heinrich while with Anna, never thinks of Judith ; in the midst of his caresses 
 of Judith, he seems to see Anna's form and face float before him in a rosy 
 glow, for he " ahnte schon das Weben und Leben der Liebe." 
 
 Allowing for this criss-cross, the similarity in essential points between 
 the summary of the sentiments toward each of the two loves, as given by 
 der griine Heinrich and by Jean Jacques respectively, is so striking, that 
 it is necessary only to quote the passages in parallel columns without com- 
 ment. 
 
66 
 
 UNIVEBSITT OF VIRGINIA PUBLICATIONS 
 
 1. der grune Heinrich: Cotta edition of 
 Keller's works: II, pp. 248-249. 
 
 In the night following the Tell-f estival, 
 Judith brings Heinrich to a realization 
 of his peculiar relation to Anna and to 
 herself. In attempted explanation, he 
 analyses his ' feelings toward each as 
 follows: 
 
 "Siehstdu! filr die Anna moohte ich 
 alles moglich ertragen und jedem Winke 
 gehorohen; ioh moohte f iir sie ein braver 
 und ehrenhafter Mann werden, an wel- 
 chem alles dureh und durch rein und 
 klar ist, dasz sie mioh durchschauen 
 durfte wie einen Kristall; niohts tun 
 ohne ihrer zu gedenken und in aller 
 Ewigkeit mit ihrer Seele leben, auch 
 wenn ich von heute an sie nicht mehr 
 sehen wilrde. 
 
 "Dies alles konnte ich fur dich nicht 
 tun! Und doch liebe ich dich von gan- 
 zem Herzen, und wenn du zum Beweis 
 daftir verlangtest, ich sollte mir von dir 
 ein Messer in die Brust stoszen lassen, 
 so wiirde ich in diesem Augenblicke ganz 
 still dazu halten und mein Blut ruhig 
 auf deinen Schosz flieszen lassen." 
 
 2. Jean Jacques Rousseau: Les Confes- 
 sions: Gamier Freres: Paris: I, 1, pp. 
 22-23. 
 
 Jean Jacques gives an analytical sum- 
 mary of his boyhood feelings toward 
 Mademoiselle de Vulson and the little 
 Goton in the following passages : 
 
 '.'Mais du reste rien du semblable en 
 ce qu'elles me faisaient ^prouver. J'au- 
 rais pass6 ma vie entiere avec Mademoi- 
 selle de Vulson sans songer k la quitter. 
 — Je souffrais quand elle 6tait malade, 
 i'aurais donne ma sant6 pour retablir 
 la sienne. — Absent d'elle j'y pensais, 
 elle me manquait; present, ses caresses 
 m'^taient douces au coeur, non aux sens. 
 J'^tais impun^ment familier avec eUe; 
 mon imagination ne me demandait ce 
 qu'elle m'accordarit. — Je I'eusse 6t6 (ja- 
 loux) de Mademoiselle Goton en Turc, en 
 furieux, en tigre. J'abordais Mademoi- 
 selle de Vulson avec un plaisir tres-vif, 
 mais sans trouble, au lieu qu'en voyant 
 Mademoiselle Goton je ne voyais plus 
 rien, tous mes sens ^taient boulevers^s. 
 
 "Je craignais (Sgalement de leur de- 
 plaire ; mais j 'etais plus complaisant pour 
 I'une et plus obiSissant pour I'autre. 
 Pour rien au monde je n'aurais voulu 
 f Sober Mademoiselle de Vulson; mais 
 si Mademoiselle Goton m'eut ordonn6 
 de me jeter dans les flammes, je crais 
 que I'instant j'aurais ob6i." 
 
 In conclusion: In the most important single incident in the life of 
 Keller's der grune Heinrich, the hero's love for Anna and Judith, the most 
 striking peculiarity is not the character of the sentiments but their coinci- 
 dence. In the Confessions, Rousseau relates a similar incident of his own 
 boyhood. In these two double love-stories, the ages of all parties concerned 
 are the same in both, — even to the exact number of years in the case of 
 Judith andMademoiselle de Vulson. In the feelings inspired in the adorer's 
 youthful bosom, however, Judith resembles la petite Goton, Mademoiselle 
 de Vulson, Heinrich's Anna. In other respects, Judith resembles neither 
 
Keller's dee geUne heinhich 57 
 
 of Rousseau's loves, although Anna, in appearance and still more in manner, 
 shows much that reminds of Jean Jacques' petite Goton. In the life of Jean 
 Jacques this double love lasted less than a year. Keller lets it grow with 
 the hero's growth through five years; but in Heinrich's final summary of his 
 feelings toward Anna and Judith, there is a strong resemblance, often almost 
 verbal, to the summing-up which the mature, analytical Jean Jacques 
 gives of his boyish sentiments toward Mesdemoiselles de Vulson and Goton. 
 Both these resemblances and differences seem strong circumstantial 
 evidence to something more than the general infiuence of the Confessions, 
 which Keller admitted of his autobiographical novel, and appear to point 
 to the incident of Mesdemoselles de Vul§on and Goton in the life of Rous- 
 seau, as the framework about which Keller constructed the double love- 
 story of Judith and Anna, though there is no reference to this indebtedness 
 either in Bachthold's biography or in Keller's published correspondence 
 and diary. If this be so, then we owe to Rousseau the peculiar situation of 
 simultaneous love to two women in der grune Heinrich, — and indirectly 
 to him, through the exigency of handling such a theme, the necessity that 
 led to Keller's invention of the magnificent Judith. In addition to this, 
 a number of minor incidents originate directly in this double love-affair 
 and one long inserted episode, — ^the story of the Wandering Skull of Alber- 
 tus Zwiehan, — is a symbolic, somewhat ironic treatment by the ripened 
 grilne Heinrich, the Gottfried Keller of the late 70's, of the heart divided 
 between two sovereign ladies. 
 
 Preston Heights, August, 1911. 
 
17: 
 
 77 
 
 UNIVERSITY OF VIRGINIA PUBLICATIONS 
 
 BULLETIN 
 
 OP THE 
 
 PHILOSOPHICAL SOCIETY 
 
 Uainanifitio Series, Vol. I, No. 1, pp. 1-50— September. 1010 
 
 The Sacred Tripudium 
 
 BY 
 
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 UNIVERSITY OF VIRGINIA 
 
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 BULLETIN 
 
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 Keller's det' Grune Heinxich: Anna and Jnditli and 
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 UNIVERSITY OF VIUGINIA 
 
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