e. Sign for thing signified: e.g. 14, 193 vitem (= centurionatum); 14, 197 aquilam (= primipilatum).1 130. Transferred epithet. This is especially frequent, and characteristic of Juvenal: e.g. 3, 275 vigiles fenestrae; 7, 42 sollicitas portas; 8, 248 pigra dolabra; 10, 264 audaces carinas; 12, 82 garrula pericula.” 131. Contrast. Juvenal is fond of abrupt contrasts: e.g. 5, 59 Gaetulum Ganymedem; 6, 622 f. descendere in caelum; 7, 28 parva sublimia; cf. 1, 50, 140; 3, 182 f., 209; 4, 74; 6, 597. 3 132. Apostrophe. In Juvenal, as in all Latin poets, this is of frequent occurrence: e.g. 1, 50 tu victrix provincia ploras; 14, 316 nos facimus, Fortuna, deam.* 133. Anaphora. In numerous instances the same word or words occur at the beginning of succeeding verses e.g. 1, 51 f. haec ego.. ...haec ego; 6, 232 f. illa docet...illa docet." 134. Epanalepsis. The same word occurs at the end of one verse and at the beginning of the next: e.g. 2, 135 f. fient fient; 5, 112 f. esto | esto; 6, 279 f. dic | die; similarly at the beginning and end of the same verse: e.g. 1, 15 et nos ...et nos; 6, 457 nil...nil; 15, 7 illic... illic." 135. Alliteration. Examples are 8, 174 furibus ac fugitivis; 10, 120 cervix caesa (= abscisa).' 136. Enallage. a. Mood varies in coördinate clauses : e.g. 4, 101 f. intellegat...miratur; 7, 185 conponat...condit; 15, 169 f. sufficit... crediderint. b. Tense varies in the same sentence and without apparent reason: e.g. 1, 155-7 lucebis... deducis; 6,396 f. consulit...volet ...fiet; 14,174 miscuit...grassatur. Without doubt metrical. convenience is often the decisive factor in these variations.' 1 Streifinger, l. 7. pp. 35-9, has collected the examples of these and other types. 4 Weise, l. 7. pp. 40 f. 5 Streifinger, l. 7. pp. 5 ff.; Weise, l.l. pp. 45 ff. Cf. E. Klebs in Friedl., p. 607; Streifinger, l. 1. pp. 7 f. 7 E. Wölfflin, Sitzungsber. bayr. Akad., Phil.-hist. Kl., 1881, 1, pp. 49 ff; A.L.L. III, pp. 443 f. 8 Weise, l. 1. pp. 61 f.; Lupus, l. 1. p. 38. 137. Asyndeton. : Conjunctions are very frequently omitted e.g. 1, 107 ff. custodit in agro conductas Corvinus oves, ego possideo plus Pallante et Licinis; 3, 197 f. nulla incendia, nulli nocte metus; 6, 353 conducit comites sellam cervical amicas; 10, 35.1 2 138. Ellipsis. The style of Juvenal is characterized by the very frequent omission of words and phrases which may easily be supplied from the context. The following types may be noticed : a. The copulative verb: e.g. 1, 1 semper ego auditor tantum (sc. ero)? 2, 22 quo deterior te (sc. sum)? 3, 58; 7, 200, etc.3 b. Other verbs: e.g. 1, 88 f. alea quando hos animos (sc. sumpsit)? 11, 4 f. omne theatrum de Rutilo (sc. loquitur). In particular, after adverbs of source (inde, unde, hinc) and in questions introduced by quo the verb is regularly omitted: e.g. 1, 168 inde irae et lacrimae; 14, 56 unde tibi frontem? 1, 144 hinc subitae mortes; 8, 9 f. effigies quo tot bella torum. c. Tantus is omitted before quantus in twenty-one out of twenty-seven instances: e.g. 10, 13 f. exuperans patrimonia census quanto delphinis ballaena Britannica maior.1 139. Pleonasm and tautology. Juvenal frequently uses two synonymous words where one would suffice, adduces two or more parallel examples to illustrate his thought, and repeats the same idea in different form: e.g. 3, 135 f. haeres et dubitas; 7, 3 celebres notique poetae; 2, 26 f. si fur displiceat Verri, homicida Miloni, Clodius accuset moechos, Catilina Cethegum; 14, 47 ff. maxima debetur puero reverentia, siquid turpe paras, nec tu pueri contempseris annos, sed peccaturo obstet tibi filius infans." Other Peculiarities 140. Transition. Juvenal, like other poets of the rhetorical school, makes use of certain stock words and phrases in passing from one part of his subject to another. Prominent are the following: a. The imperatives accipe, aspice, respice, adde(quod): e.g. 7, 36 accipe nunc artes; 13, 120; 2, 166 aspice quid faciant commercia; 5, 80; 8, 91 respice quid moneant leges; 14, 114 f. adde quod...populus putat; 15, 47. b. The interrogative expressions quid referam and quid quod: e.g. 1, 45 quid referam quanta siccum iecur ardeat ira; 3, 86 f. quid quod adulandi gens prudentissima laudat sermonem indocti; 6 A, 9.1 141. The satires of Juvenal are marked by many parenthetical clauses, and even by long digressions: e.g. 1, 127– 31; 5, 137-45; 12, 17-82; see note on 12, 82.* 142. For a proper name, Juvenal frequently substitutes a descriptive phrase or a relative clause: e.g. 8, 237 novus Arpinas ( Cicero); 10, 112 generum Cereris (Pluto); 10, 127 quem mirabantur Athenae (= Demosthenes)." 143. Proverbs and proverbial expressions are numerous : e.g. 1, 7 nota magis nulli domus est sua; 7, 202 corvo quoque rarior albo. This is true of all Roman satire and of other departments of Latin literature in which there is a strong colloquial element.* METRE BY PROFESSOR KIRBY F. SMITH 144. The satiric hexameter. After experimenting for some time with that variety of metres which was in harmony 1 Weise, l. 7. pp. 12 f.; Bergmueller, Quaest. Iuven., in Act. Sem. Erlang., IV, 1886, pp. 398-440, gives an exhaustive account of these and other forms of transition. 2 Cf. § 76; Friedl., pp. 49 f. and p. 104* (index). 3 Friedl. collects the examples in notes on 1, 25 and 5, 45. • Examples are given in the index to Friedl., p. 106*. s. v. Sprichwörter. G. Eskuche, Juvenals Versbau, in Friedlander's Juvenal, pp. 57–80; H. Bornecque, with the Ennian definition of satura as a literary department, Lucilius finally settled upon the hexameter as the form best suited to his purpose. His choice was confirmed by Horace, and henceforth became a law of composition for Persius, Juvenal, and other satirists of the Lucilian school. The great primary laws of construction for the Roman hexameter, whether epic, elegiac, or satiric, are the same, and a knowledge of them on the part of the student is assumed. So, too, from its beginning with Ennius to its culmination in the first century, the Latin hexameter travelled steadily towards the utmost strictness of technique. But in the matter of particulars the satiric type, like the epic and elegiac, is a separate creation. True to the character and purpose of the department, the hexameter of satire is marked by a greater freedom of construction and more latitude in the various details of exceptional usage. This is true of Juvenal as it is of Horace, though the lapse of three generations has made Juvenal far more strict in some matters of technique than his predecessor. 145. The hexameter of Juvenal. The difference, however, between Horace and Juvenal is not a matter of chronology alone. The temperament of Horace, as well as the more direct influence of Lucilius upon his conception of satire, suggested and perfected an easy, conversational verse, moving within the widest possible limits of artistic freedom. But the genius and temperament of Juvenal, as well as the purpose of his satire, were something quite different. He had been a professional rhetorician and his satire is declamatory, not conversational. Speaking in general, then, the verse of Juvenal is one in which the traditional freedom of the satiric Deux études de métrique latine, Rev. des Études Anc., III, 1901, pp. 200-4 (1st satire only). See, in general, L. Müller, De Re Metrica, 2d edit., St. Petersburg, 1894; W. v. Christ, Metrik der Griechen und Römer, Leipzig, 1879; F. Plessis, La métrique grecque et latine, Paris, 1889, type has been utilized and specially developed to meet the aims of professional declamation. The hexameter is also very much diversified by the varying moods of the author. The mood of parody which exaggerates the conventional usages of epic, the impatient mood which deliberately transgresses conventional rules because they are conventional, the mood of pure poetry which considers them with the utmost care, the conversational mood which takes us back to Horace -all these are clearly impressed upon Juvenal's verse-technique and seriously affect the meaning of any laws of usage founded on statistics alone. Only a few of the more important points can be taken up here, and the discussion of them is chiefly for the purpose of practical illustration. No attempt is made to be complete and exhaustive. 146. Conflict.' In the first four feet of the hexameter it was the aim of the Roman poet to avoid the coincidence of verse-ictus with regular word-accent. This conflict was desirable in all four places, the general rule in three or two, demanded in at least one. From this point of view a verse like Lucretius, 1, 77, Quanam sit ratione atque alte terminus haerens, was faulty. Such lines occur for the most part in the earlier poets and are very rare. This law of conflict is of the greatest importance. It should be clearly understood and always kept in mind, inasmuch as the observance of it, owing to the one invariable law of Latin accent, is the principal organ of development in the technical history of the Roman hexameter. This is especially true of the caesura and, above all, of the so-called secondary (masculine) caesurae, the real object of which, in most cases, is to produce that conflict which always accompanies them. 147. Caesura.' This important element of the hexameter 1 See, for example, L. Müller, 7. 7. p. 234 f. |