Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021619691 PROLEGOMENA TO THE History of Italico-Romanic Rhythm BY THOMAS ^ITZHUGH PROFESSOR OF LATIN IN THE UNIVERSITY OF VIRGINIA ANDERSON BROTHERS UNIVERSITY OF VIRGINIA CHARLOTTESVILLE, VA., U. S. A. 1908 Copyright 1908 By Thomas FitzHugh Composed and Printed By The University of Chicago Press Chicago. Illinois, U. S. A. THOMAE DAY SEYMOUR A. P. T. S. INTRODUCTION The purpose of this publication is to submit to the consideration of classical scholars a brief preliminary statement of results which were laid before the American Philological Association on the 30th of December, 1907, and are now being prepared for publication in detail. The investigation upon which these results are based has nothing to do with the particular question as to the nature of the Latin accent. It shows merely that, whatever be its precise tone, Latin accent falls rhythmically in Latin speech, and thus determines for the native versification an original rhythm of accent, and not as in Greek with its arhythmic accent an original rhythm of quantity. The distinguishing difference between the conclusions reached and other accentual solutions of the Saturnian problem lies in the discovery of the procatalectic accentual dipody, its necessary sequence in passing from strong accentual catalexis, and the imiversality of this accentual law for both pre-Hellenistic and Hellenizing versifi- cation. Their characteristic antithesis to the conclusions of the Hellenizing metric lies in their conformity with the evolutionary principle of the simple, homogeneous origin, whereas all quantitative solutions hitherto offered would seem, in view of the assumed heterogeneity and complexity of the phenomena, to xdolate the naturalness of artistic evolution. TONIC POSTULATES A. The peculiar mark of Latin articulation was its tonic rhythm. B. In Saturnian times the initial tone of the word was dominant, the next to the last secondary: Camena. C. In classic times the second tone became dominant, and the first subordinate : Camena. D. In both periods a low-toned ictus marked the final syllable, with a strength dependent upon the rhythmic context. E. In both periods the intertonic element was ictusless: facile, subige, Scipio. RHYTHMIC THESES I. Accordingly in both periods we have the following ictuo- accentual effects : a) The acatalectic initial accentual tone : terra, facile Symbol: A. b) The procatalectic initial accentual tone : f f r r f r f ' fac, die, mare, Camena, versutum Symbol: P. c) The catalectic final ictual tone : mihi, capiti, Scipio, omnia. Symbol: C. d) The weak tone between overwhelming tones in speech or verse. Symbol: W. 7 8 Thomas FitzHugh II. Thus the natural rhythm of Latin speech was ictuo-accentual and trochaic with dactylic validity: it was a trochaico-dactylic rhythm of procatalectic (including brachycatalectic) , acatalectic, and cata- lectic tones, in which a rhythm of accent was contrasted and har- monized with a rhythm of ictus. III. The artistic problem of Latin metric art was found in deter- mining the rhythmical relation of the catalectic ictual low-tones to the procatalectic and acatalectic ictual high-tones, that is, in determining the relation of C to P and A . IV. The artistic solution of the rhythmic problem was reached in prehistoric times, and the rhythmic law was estabKshed, that strong catalexis in arsis or thesis must be immediately followed by procata- lexis, so as to maintain the integrity of the native trochaic rhythm of Latin speech. The artistic law of tone sequence is expressed in the graphic formula PAPACP, which permits any sequence except C A, and thus requires that P shall always intervene between C and A, and immediately after C, so as to lift the tone at once to the trochaic thesis procatalectic, and so prepare the way for the full acatalectic tone to follow. V. Thus the procatalectic accentual foot became the rhythmo- poeic keynote of the Latin muse, and it remains for us to observe its artistic evolution in Latin versification. I. THE PERIOD OF THE INITIAL ACCENT AND THE STRONG PROCATALECTIC FOOT Latin rhythmic art is an organic imfolding out of the prehistoric ictuo-accentual trochaic dipody with its tetrapodic implications, which we shall find indigenous to both the Latin-Faliscan and Osco-Umbrian nationality; cf. Buechner Arbeit und Rhythmus, p. 363. The result- ing ictuo-accentual trochaico-dactylic tetrapody is the universal type of prehistoric Italic metric art as revealed in all pre-Hellenistic Italic monuments; cf. pre-Ennian rhythmical inscriptions, ancient prayers, hymns, and sacred formulae, in Latin and Osco-Umbrian, and, above all, the literary remains of Livius Andronicus and Naevius. The quantity of the syllable has only ictuo-accentual significance as deter- mining the heavy or Kght fall of the ictuo-accentual trochee, but not as determining the rhythm itself, as in quantitative metric : Italico-Romanic Rhythm 9 1°. £• J-i i.: Heavy acatalecticdipody with light fall: A A. 2°. -1 -J-i s- Heavy acatalectic dipody with heavy fall: A A. 3°- I -I "is- Light acatalectic dipody with heavy fall: P-C P-C. 4°- !•/£• i : Heavy procatalectic dipody with light fall: PA. 5°. i/G :, • Light procatalectic dipody with light fall: PA. And so on. We begin with our oldest rhythmic monument, the Carmen Arvale {CIL I' 28), omitting henceforth all ictus-dots and accents not neces- sary to perspicuity: a) Enos Lases iuvate c z/c -/c/i. i Formula: PC P-C P-A A faultless light trochaic tetrapody with the artistic procatalectic foot intervening between the strong catalectic ictus in arsis and the acatalectic accentual close : Rhythmic contrast of accent (high-toned ictus) and ictus (low-toned). i. C/ii / C- / £. 1. b) Neve luem ruem Marmar C - -/ £. ^ - / i./^ sinas incurrere in pleores Formula: A P-C P-C A P-C W-A W P-C Violation of procatalectic law in the fourth foot. Contrast of accent and ictus in the first tetrapody; coincidence of accent and ictus in the second. c) Satur fu fere Mars i. z. / c- :./£./:. limen sali sta berber Formula: P-C P P P A P-C W P-C No violation of procatalexis. £./£. 2.li./£. \ d) Semimis alternei £. Ui. ^1.1 i. / - advocabitis conctos Formula: P-A P-A lA-A-W P-C No violation of procatalexis. ^ lo Thomas FitzHugh e) Enos Marmor iuvato c :.} i-z-lcji. - Formula: P-C A PA Violation of procatalexis in the second foot. /) Triumpe C/£./^ Formula: P-P-C The fivefold repetition of the word indicates that'it summarizes by pancatalexis each of the five preceding tetrapodic groups. g) Lustratio, Cato De R. R. 141. Mars pater te precor £■! c ^Icj c - Formula: P P-C P P-C Correct. h) Carmen Saliare, ap. Ter. Sc. VII. 28 K. Quome tonas Leucesie c cj c -1^1 c ^ i Formula: P P-C P-A Correct. i) Calatio, Varro De L. L. vi. 27. Dies te quinque calo c -/£./£■ ~/c - luno Covella £./-/c/£. i Formula: P-C P A P-C P-C P-A Correct. f) Devotio, Livy viii. 9 lane luppiter Mars pater Quirine Duellona Formula: A A-W P P -C P-A P-A Correct. ^) Clarigatio, Livy i. 32. Audi luppiter audite i. - / c ^ / i./ ^ 1. finis populi Albani Formula: A A-W P-A AP P-A Correct. Italico-Romanic Rhythm ii I) Belli denuntiatio, Cincius ap. Gell. xvi. 4; Livy i. 32. Quod populus Albanus hominesque Albani Formula: P A PA P-P PA Correct. ni) Versus sacrorum, ap. Front. 67 N Flamen sume Samentum Formula: A A P-A Correct. n) Poptdaris incantatio, ap. Varr. i?. 2?. i. 2 . 27. Terra pestem teneto salus hie maneto Formula: A A P-A P-C P P-A Correct. 0) Nutricum cantilena, ap. Schol. ad Persii 3. 16. Lalla lalla lalla aut dormi aut lacta Formula: A A P-C PC P P-C Correct. p) Sententiae, App. Claud, ap. Fast. 317. £. ^ /£.:./ i./ £. c i°- Ne quid fraudis stuprique ferocia pariat. Formula: A A P-A P-A PC Correct. Cl £. i / £. I C - 2°. Amicum cum vides, i -Ii. ^ i/ c/c^z. obliviscere miserias: Formula: PA P P-C A^A P-A Correct. 12 Thomas FitzHugh 3°. Inimicus si es commentus, i. / C, - / £./ - nec libens, aeque. Formula: P-A W P-A P P-C P-C Correct. Fleckeisen and Baehrens were not familiar with the charm of the procatalectic foot, or they would perhaps have upheld the tradition of the MSS. q) The Faliscan Cooks, CIL XI 3078. 4. £. / C ^ - / i-li.-^ i Gondecorant saipisume comvivia loidosque Formula: P-A P-A P-A P-A No mean effort for the Cooks. r) The Mummian Triumphal Inscription, CIL I 541. 2. Corintho deleto Romam rediit triumphans Formula: P-A P-A A A P-A Correct. 5) The Inscription of the Vertuleii, CIL I 1175. 3. Decuma facta poloucta leibereis lubetes Formula: A A P-A A-C P-A Correct. t) The First Scipionic Inscription, CIL I 32. i. Hone oino ploirume cosentiont Romai Formula: P A A-C P-A P-A Correct. Italico-Romanic Rhythm 13 Romai suits the whole context better than Romani (Grotefend and Niebuhr) or Romane (Buecheler), and the period better than Romae (Sirmondi). u) The Second Scipionic Inscription, CIL I 30. 6. C Y Z./£. - / i.l£. 1. Subigit omne Loucanam opsidesque abdoucit Formula: A A P-A A-P P-A w C w Leo's subigit is impossible in a normal Latin thesis, which must £. - i either be accentual or ictual. The second syllable of subigit is inter- ictual and therefore toneless; hence it cannot begin a Latin thesis, which is always trochaic in native art. v) The Third Scipionic Inscription, CIL I 33 . 5. C wi/i i / c ^/£. - Facile facteis superases i w/i / £./£. - gloriam maiorum Formula: A A P-A A-C P-A Correct. w iw w C w Leo's facile is as unhappy as his subigit above. There are no tone- less theses in normal Latin verse. w) The Foiurth Scipionic Inscription, CIL I 34•3• Quoiei vita defecit £. / C - I Cli. i non honos honore Formula: A A P-A P P-C P-A Quid, plural x) Livius Andron. Odisia i. C- I C - / C./ £. i, Virum mihi Camena insece versutum Formula: P-C P-C P-A A-C P-A Correct. 14 Thomas FitzHugh Thus the so-called classic Saturnian of quaijtitative fame is a pure fiction of Hellenizing philology, for which Caesius Bassus (Keil 265. 10) and his modern successors have sought in vain within the borders of reality. y) Naevius Bellum Poenicum i. i. Novem lovis Concordes fw/i/C/i - filiae sorores Formula: P-C P-C P-A A-C P-A z) We have found the ictuo-accentual trochaic dipody, in its several acatalectic, catalectic, procatalectic, and brachycatalectic forms, to lie at the foundation of Latin prehistoric rhythm, and we have recognized everywhere the tetrapody as the regnant type. An unprejudiced examination of our Osco-Umbrian monuments points strongly to the conclusion that they are characterized by the same rhythmical features as those of their Latin-Faliscan sister-dialects, and that the procatalectic dipody is a common trait of Italic speech and rhythm (cf. Buecheler Umhr. 97 and 148). IGUVINIAN TABLES VII A 32. a) Prestota/Serfia/Serfer/Martier IBID. II B 24. b) lupater/Saje/tefe/estu vitlu/ vufru/ sestu CIL IX p. 678 CORFINIUM. c) Pes/ pros/ ecuf / incubat casnar/ oisa/ aetate C./ Anaes/ solois r r * r 1 • des/ forte/ faber ZVET. IT. MED. II. I AND 4. CORFINIUM d) Usur/ pristafalacirix/ prismu petiedu/ vidad Italico-Romanic Rhythm 15 rl,- ,/,. e) Aetatu/ f irata r » / r • r / r • fertled/ praecime/ Perseponas IGDVINIAN TABLES VI& 54 r ' /■• /■ //■• /) Pisest/ totar/ Tarsinater trifor/ Tarsinater/ Tuscer Naharcer/ labuscer Nomner/ eetu/ ehesu/ poplu Sic ad infinitum! So all the instances which Leo rejects, because more numerous than his Hellenizing metric could accommodate {Saturn. Vers 65 ff .) For the Iguvinian monument, see Buck Gram. 0/ Oscan and Umbrian, pp. 260 £E. II. THE PERIOD OF THE PENULTIMATE ACCENT AND THE WEAK PROCATALECTIC FOOT The rise of the next-to-the-last ictus to accentual supremacy was due to its strong acatalectic position as compared with all procatalectic initial ictuses. Accordingly, Camena naturally tended to Camena, f - - - f- versutum to versutum, and accentual analogy assimilated the acata- r , , r r lectic initial forms: imperator became by analogy imperator. Thus the old procatalectic trochaic falUng dipody became the new procata- lectic trochaic rising dipody (choliambic dipody) : i ji. ■^ became (,lf «; £li. w became i-lf ^. But the native trochaic rhythm of Latin speech and verse remained intact, the procatalectic accent merely sinking to a secondary rank, while the following acatalectic accent rose to primary rank. The Latin thesis continued as before w C^ w t w trochaic: the rhythm of ictus was unchanged; ]acUe and subigit are as abnormal as ever in native Roman art. The Muse of the procatalectic foot became enamored of the Delphic god and Ennius twined the silver cord of quantity with the native gold of tone. The bard of Mantua, Wielder of the stateliest measure ever moulded by the lips of man, crowned her with a deathless wreath of song, blending the Ariel charm of rhythmic tone with the measured flow of rhythmic structure. i6 Thomas FitzHugh The old ictuo-accentual rhythm with unmeasured quantities, had become the new accentuo-ictual rhythm with measured quantities, and the reign of the procatalectic accentual foot, extending its territory under structural auspices to include freely arsis as well as thesis, had become universaKzed. The artistic problem of Saturnian art had been the rhythmic exploitation of the light accentual foot as accentual thesis : the artistic problem, of post-Saturnian art was its rhythmic exploitation between measured thesis and measured arsis. Let us continue to study the now lighter-grown trip of the procata- lectic foot adown the vistas of classic art, and note the typical solu- tions of the accentuo-ictual problem : a) Ennius Annales i. i Musae quae pedibus magnum pulsatis Olympum Formula: A P P-C: P-C: P-A P-A Contrast of accent and ictus before the hephthemimeris, followed by harmony of accent and ictus afterward. /S) Plautus Ca/>, c/- : £./- :^/^- ^ / £. - Arma virumque cano Troiae qui primus ab oris. Formula: A P-A P-C: P-C: P AW A !■) Vergil Aeneid ii. 2. i. i. / 1. : ^li. w cl- • c w/^ w cli. - Infandum regina iubes renovare dolorem. Formula: P-P-C: P-A P-C: P-A P-A Cf. W. Meyer, loc. cit., pp. 233 ff.; Meyer's caesural problems are all accentuo-ictual and not structural, and the procatalectic foot is their solution. k) Yer^l Aeneid i. 224. Despiciens mare velivolum terrasque iacentes Formula: P-P-C: P P-P-C: P-A P-A The Coryphaeus of Latin hexameters. Professor Meyer will find the answer to his query as to the reason for the classic preference for 1 8 Thomas FitzHugh this beautiful type in the strong procatalectic foot {mare) instead of r. r ^ the weak initial accent in regina above (t). Cf. Munch. Siizungsb. II. 239. Sed quid plural In Vergil the procatalectic Muse achieved her supreme triumph : all of beautiful achievement since finds its source in him. X.) 1° Horace Odes i. 4. £. ww/i ... cl 1. : £.1 - c^:l£.^l 1 cl i.i - Solvitur acris hiems grata vice veris et Favoni Formula: A A P-C: P-C: P:A P P-P-C The procatalectic foot at the close of the first rhythm annuls the diaeresis and unifies the double series, 2°. Ibid. iv. 7 . 7. Immortalia ne speres monet annus et almum £. C ^ I i. ^ Cl- Quae rapit hora diem. Formula: A-A P P-C: P AW A PPAP-C At) TibullusEZegmi. I. £■ £./! : £./:.: c ^1 ^: c ^1 £. w cl £. O quantum est auri pereat potiusque smaragdi Formula: P P P: P-C: P-C: P-A P-A v) Propertius Elegia i. 2. i. C w./i £./^: £./£. ww/iw C/i. - Quid iuvat ornato procedere vita capillo Formula: P P P-P-C: P-A A P-A 0) Ov\6.Metam\. i. In nova fert animus mutatas dicere formas Formula: P P P P-C: P-A A A tt) luvenal Satires x. 356 Orandum est ut sit mens sana in corpore sano Formula: P-P-C: P C: P C:P A A IXALICO-ROMANIC RhYTHM 1 9 p) Persius Satires iii. 66. £. ww/i c^/1 : £.1 :.: £. I £. «w/i_ Discite o miseri et causas cognoscite rerum Formula: A P P C: P-C: P-A A a) Seneca Oec?i/>M5 407. i £./- :cs,/i« c/i. : £./i. ^ c i. Effusam fedimite comam nutante corymbo Formula: P-P-C: P-A PC: P-A P-A t) Lucan Pharsalia i. i. Bella per Emathios plus quam civil i a campos Formula: A W P-P-C: P P: P-A A v) Statius Silvae iv. 2.1 Regia Sidoniae convivia laudat Elissae Formula: A P-P-C: P-A A P-A ) Martial Epigram, i. 13 £. ^ c/-: c U- : £. / iww/i ww/i_ Casta suo gladium cum traderet Arria Paeto Formula: A P-C: P-C: P A A A X) Pervigilium Veneris i. !. C/1. £./ £. C / £.-:/£. CIS.-I i. C'- Cras amet qui numquam amavit quique amavit eras amet Formula: P P-C P P P-A: P P-A P P-C Contrast of accent and ictus outside, coincidence within diaeresis. •^) Claudian/Mi?M;^wMwi. I. £. w c/2.: c w/i : i./- : i. /£. w^/ l _ Saepe mihi dubiam traxit sententia mentem Formula: A PC: P-C: P-C: P-A A CO) Boethius De philos. consol. i. i. Carmina qui quondam studio florente peregi Formula: A P P-C: P-C: P-A P-A 20 Thomas FitzHugh VI. Thus from the song of the Arval Brotherhood to the end of Latin literature the law of the procatalectic foot reigns supreme in Latin verse: Procatalexis, welcome everywhere, is mandatory after strong catalexis, in accordance with the universal formula of tone- sequence, P A P A C P. The strong catalexis in arsis which was a natural artistic feature of the reign of the ictuo-accentual thesis in Saturnian art (c-), necessarily disappears under the reign of the accentuo-ictual thesis of quantitative rhythm (^_), where the thesis being measured, and therefore always strongly ictual, invalidates all strong catalexis in arsis, reducing it to W and thus legitimating the immediate sequence of A. Consequently, the procatalectic law is mandatory in classic verse only after catalexis in thesis: catalexis in arsis has become impossible. But the loss of the catalectic tone in arsis was more than repaid by the gain of the procatalectic tone, which so richly facihtated that charmingly rhythmical alternation and coincidence of accent and ictus, which has always been the artistic motive of Latin ictuo-accen- tual and accentuo-ictual rhythm: in Saturnian art the procatalectic foot provided the indispensable artistic thesis, in classic art it furnished the indispensable artistic arsis. VII. The doctrine of the claudo-accentual foot renders gegen- standslos many a time-honored problem of Hellenizing metric. The whole subject of the Latin caesura calls for restatement as an accentuo-ictual and not a structural problem, and when so restated the supposed problem vanishes, and Athens and Alexandria play but an insignificant r61e in the result. The function of the Greek caesura is mere structural interruption, that of the Latin caesura is accentuo-ictual modulation besides. The strong caesura of Latin verse is procatalexis followed by catalexis (P-C), the weak caesura is acatalexis followed by catalexis (A-C), and the trochaic diaeresis of Latin rhythm is procatalexis followed by acatalexis {P-A). Mere acatalexis (A) is acaesural in Latin, and therefore Ennius could make no serious use of Homer's feminine pen- themimeris. The Latin caesural thesis craves a minimum of tone, and hence its fondness for the toneless monosyllable. The Latin Italico-Romanic Rhythm 21 caesural arsis craves a maximum of tone, and hence its fondness for the procatalectic foot. VIII. So, too, the time-honored problem of coincidence of accent and ictus becomes likewise gegenstandslos from the vantage-ground of accentuo-ictual rhythm. With the accentual trochee, which has characterized Latin speech and verse from the beginning of our tradi- tion, the only problem is how to make accent and ictus alternate rhythmically, not how to make them coincide. The coincidence is natural; it is the alternation that is artistic and purposive. IX. Thus Hellenizing Latin metric was merely a measured mode of Latin ictuo-accentual rhythm and not an organic modification of its life, and when the silver cord was loosed the imperishable gold endured and Romanic rhythm in every form is but the organic evolution of the prehistoric ictuo-accentual dipody and tetrapody, in which, when the voice of the Latin Muse was hushed forever, procatalexis had faded into tonelessness and the genuine iambic element was legitimated on equal terms with the ancestral trochee; cf. Stengel Roman. Verslehre, in Grober's Grundriss II. I. i. 17 f. X. Accent is the life and music of human speech. To ignore and violate it is barbarity and not scholarship, and to make a virtue of the practice is a brutal vandalism that merits the mill-stone and the depths of practical and theoretical reprobation. To ignore the flutelike modulations of the Greek accent in render- ing and teaching Greek verse is to mar the natural life of Hellenic speech and to forfeit the charm of quantitative rhythm, substituting wooden mechanism for life, and cheap handicraft for beauty, while babbling the sacred things of the Muses withal. It may not be given to everyone to recall adequately the silenced music, but every scholar of feeling and insight knows that ample achievement crowns loving efifort. Articulatory infirmity and aesthetic obtuseness furnish fair occasion for honest confession, not scientific ground for pedagogical propagandism and charlatanry. Cf. Quintilian Inst. orat. xii. 10. 33. To ignore the acute tone of the Latin accent as it rhythmically alternates and coincides with ictus, is not only to violate the sanctity 22 Thomas FitzHugh of natural speech but to blunder irredeemably in rhythmic interpreta- tion, missing altogether the secret of Saturnian art and substituting for the accentuo-ictual rhythm of classic verse a humdrum rhythm of lifeless structure with its monotonous thump, obKvious to the very essence of Latin metric art, which, like the noble speech that bore it, has always been characterized by a rhythm of accent rhythmically contrasted and harmonized with a rhythm of ictus. The application of the new principles to the thoroughgoing rhyth- mical interpretation of our Saturnian tradition will follow this pre- liminary announcement. It wiU then be fitting to review the founda- tions of our current theory of the evolution of Latin-Romanic metric art from the vantage-ground of the ictuo-accentual trochee and the strong and weak procatalectic foot. And finally, it will be incumbent upon us to inquire into the bearing of our results upon Latin phonology and morphology, January i, 1908 Carmen Arvale seu Martis Verber OR The Tonic Laws of Latin Speech and Rhythm SUPPLEMENT TO THE PROLEGOMENA TO THE History of Italico-Romanic Rhythm BY THOMAS FITZHUGH PROFESSOR OF LATIN IN THE UNIVERSITY OF VIRGINIA ANDERSON BROTHERS UNIVERSITY OF VIRGINIA CHARLOTTESVILLE, VA., U. S. A. igo8 INTRODUCTION. Since the publication of my Prolegomena in January last, fur- ther investigation of the tonic phenomena presented by the Carmen Arvale has revealed to me in fuller light the great tonic laws of Latin speech and rhythm. This brief supplement, which will be laid before the American Philological Association at the Toronto meeting in December of the current year, presents our ancient cryptograph of the sacred spear-cult and Saturnian-ritual of Mars in all its glory as the Alpha and Omega of tonic inquiry; it will outline summarily the tonic laws of Latin speech and rhythm; and it will develop historically the salient criteria of artistic evolution. The distinguishing difference between my final conclusions and those of Hellenizing science will be found to lie in the substitution of the principle of the initial accent and descending ictus (Ictuum Descensio) for the phonetically inadequate and erroneous general- ization of the Paenultima Law, and in the substitution of the prin- ciple of the sustained accentual thesis and ictual arsis (Ictuum Sublatio) for the barren and irrelevant incident of Hellenizing quantity. University of Virginia, November i, 1908. CARMEN ARVALE SEU MARTIS VERBER ' ' OSi Ajf J l\^\/Arf Twos r A5f J'fi/ATf Ajf l/f JLV'Af ^VJf^^w^^M J<^W^^cV/AM/Ari>fJ^/0^/cl\>AA,H5|M^ iNCmHElr^ PL eo^£S S Ar»//< fV ff /?f MARS LlM£ri SAi I iTAfifRBfl^ sMVRfvff«ew\MJUMfA#sAtisaflmBfA SFM»'^'*^ Alff Ai>/f I Ao\/ocApirco/>'croJ SfMw^/*JAif£RNf?Ao^ocAp»rcAo^ lv»/Aro f a/o S MX i^Mo K |v»1^to the qra/ihic^ Fbrfmdu. cf Perf&ctArt P^APC: p'p^ wAich^ excludes C-C^ ^-A, A-A^ and Thus re^uXre^s tfiat The. AxxentuaL Thesis shalL not ff(te.ner ttum. once, fall iiUcw Vie-Tonic /^rizorv erf Pa.rtUMtaZejcis, amd then, anhj after B^ocdtite^is in the. sustaXnad rhythm/, and neoer after Ccdalestis, and that Mf JctUdL Arsis in, like manner shall not" aftancr than, mce fall hclam the Tonic Hori'zon. of Catalexis^ and then 4mly under the same conditiorvs. The Evolution of Latin flhythmic Art. A. The First Sta^e of Art: Numertcus HoUulf of Proto-SaturniAn.: C~C, C~A, o(. Neve luem ruem Marmar ^nas incurr-ere in. h^oris. p-c r^—e P-r^ p~.c p—e. pi-A — o~c c ' p~c -,11 J. -I ll± z. K ± ^/± JL- I J. ^~ P'-P-C P*~P~C A~o~A-o~C P-C rAihicurrv. Cant vtdes- ohcii/iscere fntse. c-c. C-A, A-*. P'-P-C C p-c , A^o-A-o-C , . "1^11 -1 ^ - I ± I J. ^ I ± I -i — I -L/ J. Inimical St es- co-mTnenttjLs nee iihens aeau^. p'-p-c c c P'~P~C /»' P-c P—C : C- C. B. Tlie. Second. Stage, of Art • 'Numeru.s Saturniu-s : C-A, A- A. J ^Jl I ± Uii I -i v/J. I J- I J. Jr S. Jiueiofn 'ticiAione'. -filios B arhafi . , , A-a-C A-i-P-C 'A-o-c p'-P—c, , : C-A, A-A . ■i - I X -/' J- II It ■ I ^'^LL e . Oedit Tim/tasta&iug " aidS ' fnereZS". p-c A-o-A—a—c P-c P-C : A— A, C-A. J. - I 1 I ll-L - II.J. ^-Ll-^ll I -L ^ X. QMQuel'Auc d&derurvt iynher&corihus Summeis. ^ . ^ - T^ <" ''"/''- f A-c-,-A-j-C ^-fii ■ ^'^/'/>- n. 0/iijiaru?n- tnl vTitom Qliolundam'' fest6ieu£' dies. f ^ /• I pi^-p — c c p—c 'p'~p~c p~p~c p—c : ffevet'S'ton or c-r. „»^^ J X -J J/1 o // ' -/-i w / ' / -i Jiv •^ Suhioit amne. Moueana.m. ohsideS'f.cce. ahdou.eZt. p-' p-c p'-PLc P'-P-C ■' A-a-C "p'-p-c^ : C-A. K. Honos' /SnCa vTTtiZiiui^''oGr'tarn itauk ThgenitZm^. P-c P-c p'-p—'c ^A-—C, P-C., pZp—c c-a. - '- c/J. ^A / -V-' -i // A •—p- c 'a-o-c pLp-c c-a. Nott X. ,tfeLle.nizl/tg ^entiZu :— , , , , ' ijj. K^'^/J. J- /S V c / J. •.■ ^/-^-i M. yfrtuces qeitercs'* ffiieis' 77iarlhzis' acc^TtiM/rOMC. „ . . , ' pi-i'-c p-c P' A-o-c A-o-o-P—C :C-A.A-A. C. rie Third Std^e.