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ADVERTISEMENT.

extensive private experience; and on this ground they are with greater confidence presented to the notice of those who are engaged in the cause of Education.

The sources, from which those Stanzas that are not original were derived, it would obviously be needless to detail if they contain such beauties of sentiment and expression as will improve the taste of the Learner, it will be enough for the Editor's purpose. The First and Second Parts contain Exercises in the Sapphic and Alcaic Stanza only, for reasons hereafter stated. The Third Part consists of Extracts susceptible of easy translation into Latin Lyrics; and perhaps this selection from the fine writings in the noblest language of the world may be deemed useful on other accounts than merely that of translation. Should this opinion gain ground with experienced judges, it is the purpose of the Editor, at an early period, to print the most spirited of the Greek Choruses, with observations suited to the progress and judgment of the young Scholar.

ADVERTISEMENT.

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It is requested that the following observation, which was accidently omitted, may be particularly pointed out to the beginner:

"The first syllable of retulit is never short

in the Odes of Horace

• Retulit inferias Jugurthæ.'

Od. II. 1.28.

OBSERVATIONS.

IN the composition of Latin lyrics, there is no model so deserving of imitation as Horace, whether we consider the propriety with which he treats every subject, light or serious, the peculiar delicacy and style of his expression, or the sweetness and harmony of his numbers. The facility with which the thoughts, admirably adapted to his purpose, rise in his mind, is equalled only by the beauty and terseness of expression in which he clothes those thoughts. This peculiar characteristic is called by Petronius, the "curiosa felicitas" of Horace; and, displayed as it is in rich profusion through his Odes, and communicating a sensation of delight which never tires, it is, for the student and the scholar, an inexhaustible source of wealth to the taste and the imagination. On this account, to the student in Lyric poetry and composition, it cannot be too strongly recommended to drink deeply at this fountain of the Muses, to commit to memory every line of this great exemplar, and to dwell with unceasing care and eflection upon the charming productions of this delightful and incomparable writer:

Nocturnâ versare manu, versare diurnâ.

The rules which are here laid down for the structure of the Sapphic and Alcaic stanza are founded upon the structure of that stanza as it is in Horace; and it has been thought right not to extend these observations to any other of the Horatian measures, for

B

two reasons:

1st, That the Sapphic and Alcaic measures are by far the most numerous in the odes of Horace, and on this account form the best, because the most extensive, authority in Lyric measure; and, 2d, because a pupil well versed in the poetry of Horace, and especially in the structure of the Sapphic and Alcaic stanza, will soon almost intuitively understand the laws and rhythm of the other Lyric measures, Archilochian, Iambic, &c. &c.

ON THE SAPPHIC STANZA.

1. The Sapphic Stanza consists of four lines; the three first alike,—the last, called the Versus Adonicus, being always a dactyl and a spondee.

2. The following is a scheme of the Latin Sapphic Stanza :

3. In this, as in all measures, to preserve the rhythm, a cæsura takes place; this cæsura is generally after the 5th syllable, thus

Jure te mul to || Glyceræ de coram |

4. Sometimes the cæsura is after the 6th syllable, but the cæsura after the 5th syllable is of much more frequent occurrence.*

* The following are the numbers of the Sapphic stanzas, and