DOCSLIB.ORG

The Fourth Foot of the Homeric Hexameter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Fourth Foot of the Homeric Hexameter The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Fourth Foot of the Homeric Hexameter A. Shewan The Classical Review / Volume 29 / Issue 06 / September 1915, pp 165 - 169 DOI: 10.1017/S0009840X00048769, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00048769 How to cite this article: A. Shewan (1915). The Fourth Foot of the Homeric Hexameter. The Classical Review, 29, pp 165-169 doi:10.1017/S0009840X00048769 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 128.122.253.228 on 24 May 2015 THE CLASSICAL REVIEW 165 leaving its mark in the barbarous rhythm pably sound reading of the passage: of the recast line 4. Ovftm of B is a simplification, the more so as the MSS. have corrupted dpdv in XIX. 40: the same sentence into an accusative) rbv B' alyfr' 'Ep/ieia? ipiovvio<; et? might suggest dv/wp wovaa here—cor- 8fi ruption being due to the influence of the Setjd/ievos . stereotyped phrase (e.g. Aphr. 102). But a K€ s it must be admitted that the construc- Et? x*P 0y i certainly a strange tion, though it may stand in lyric, is expression, as Messrs- Sikes and Allen harsh for epic writing. remark, for 'took the child into his arms'—stranger still, as we are told XXXI. 13: that he had already ' received' it—and 0 can hardly be sound. Kochly's wild KOXOV 8e irepl XP ^ Xd/nrerai e<rdo<! shot etke makes the tautology worse than Xeirrovpyes irvoifj dvkyuov. before. Perhaps ek x^P adpvae I &£«- It is possible to construe these lines fievo<:: an error of wrong division in the by taking irvotfj dve/uov as dependent in first instance, and weak tinkering after- sense on Xdfi-jreTai,' Shines in the wind,' wards. but the expression savours more of Vergil than of the style of this hymn. XXIV. 4: Xe-rrrovpyh and irvoijj suggest the toss- epXe° TOV$' ava OIKOV, Bvfwv ing of a charioteer's robe in the wind; e%pvaa. can the original have run : The solemn intensive repetition of the vepl XP0^ d/iirera e<rdo<{ verb fits the tone of this invocation very XeirTovpyes irvoii] dve/icov well, but what are we to make of Ov/tov e%oviral The adjective in this phrase (hiatus before Bucolic diaeresis)—'and regularly precedes, and emendations of around his form the wind tosses his fine- e spun drapery'? verdio lacks early iirepxeo do not convince; ev epx ° would authority, but that need not be fatal in infallibly have appeared as ivepxeo if this late and possibly Alexandrian hymn. corrupted. BV/MI Xaxpvaa has also been suggested, but we look for an appeal to The blunder was likely in a context as the goddess to be gracious (cp. xxix. 10), full of Xa/iTT/oo? (10, 12), etc., as this. and Pindar's formula of prayer, 0v/wv R. J. SHACKLE. 8eXu>v (Istkm. v. 43, to accept D's pal- Trinity College, Cambridge. THE FOURTH FOOT OF THE HOMERIC HEXAMETER. FOR the caesura after the fourth this caesura be considered a rule for trochee, and breaches, in a Westminster Homer, the ' father of the rest,' and Version and in the Ode to Professor the model that composers generally Ridgeway, of the rule forbidding it, emulate ? In other words, are fourth Mr. Gaselee {supra, p. 48) might have trochees many or few in the Iliad and referred to the notes by Professor Odyssey? Professor Tyrrell (I.e.) went Tyrrell and Dr. Hayman in C.R. XVII. so far as to say that he did not believe 365 and XVIII. 226. Such a caesura not that from the two poems two sound infrequently appears in Greek hexa- verses could be adduced with such a meter and elegiac compositions. In a caesura, except when the verse ends recent epigram1 one hexameter ends, with a polysyllable, and that the Troripov Se TO S&pov apeiov, and to only one in which such a caesura some that is a clear case. may not be avoided by a very simple How far can the veto on verses with correction seemed to be Od. xii. 47, iwl 8" ovar' dXeiyfrai eraipcov. And even 1 ' In Memoriam W. G. C. G.' (The Times, there a determined expurgator might April 17, 1915)- say the elision cures the defect. i66 THE CLASSICAL REVIEW This dictum appears to be too sweep- set, the connection between a short or ing. The discussion of the question, shortly scanned monosyllable, forming with exhaustive enumeration, which is the last syllable of the trochee, and the usually referred to is van Leeuwen's in syllable that follows it is said to be so Mnemos. XVIII. 2656°.,condensed (and close that they must be pronounced altered) in his Enchiridium, 18 ff. From without a pause or ictus-rest between this it appears that there are a number them; and so, it is explained, there is of lines which certainly exhibit this no break in the line. A common case caesura. Attempts have, of course, is one in which Kai is concerned. In been made to ' correct' most of them ; the hemistich oKrpnpov Kai aeiicia irr/priv but some resist, and van Leeuwen, in we are to scan crKrjirrpov \ KOX a-, not his paper in Mnemosyne, avoided, in atcrjiTTpov KOX | d-, and as Kai is gener- several cases, the Charybdis of the ally taken to be TrpoKkniKvyra-rov, this is fourth trochee only to fall into the no doubt correct, though surely the Kai Scylla of Wernicke.1 It must be ad- in such expressions adheres closely also mitted that there are some ineradicable to the word that precedes it.2 So with cases in the poems. certain prepositions in the same position And the enumeration in question in the verse. These, it is said, ad se- shows that there are really more quentia trahuntur in such combinations instances than those included in this as <f>epo)V dv' ofuXov avravrr) or ve&v &v unyielding residuum. These are ex- dya>vi ireaovra. The preposition is plained away, some as inexcusable, treated as practically inseparable from others as only apparent. Thus, in one the word it governs. But Dr. Leaf, class of cases the effect of the final when considering some violations of polysyllable is relied on, and a-repvov he Wernicke's Law {Iliad, vol. ii. 636), Hocrei&davi and e/totcrt Kaa-iyvrJToicri are tells us that the connection of the not objected to. But as it is not sug- Homeric preposition with its case is gested by van Leeuwen or any other loose, and it is not always easy to say authority that the polysyllable helps to whether the preposition is in closer palliate the objectionable element, what- union with the word that follows or ever that may be, in a fourth trochee, with the verb or other word that pre- how can he say that it renders the cedes. But in addition to this a diffi- passages in question ' to some extent culty arises. We have, though more tolerable ?' It has no doubt occurred rarely, the same species of combination to some who have wondered what there in the third foot—irpoirdpotde irvkdav, might be in this polysyllable, that the rrfke veo<>, or even TTOVTW iv. If there is excuse is based on the length of the practically a coalescence of preposition word, which makes it difficult i<f>ap- and noun in such phrases in the fio^eiv e^a/ierptp. But as HoaeiSdcovi fourth foot, we must hold the same (-os, -a) and Kaaiyvrfroicrt,, and many about them when they occur in the other words of the same metrical value, third, and give up in the latter case the are found frequently in other positions, most characteristic rhythm of the and are final in only ten cases, the Homeric hexameter. Lines containing difficulty in accommodating them does the common break in the third foot not warrant resort to a scansion that is must be converted into hephthemimerals essentially vicious. Homer uses even or worse. The reply will be, presum- longer words without detriment to the ably, that that result must be accepted, metre. but it is a question if such a metrical construction of these third trochees has But there are many other lines which ever occurred to any one. may be construed as containing a fourth The same may be said of another trochaic. In regard to these it is argued that there is no caesura at all. In one 2 The fact that the diphthong of K<U remains 1 Just as Wordsworth, in discussing fourth uncorrepted in some cases in the Bucolic spondaics in Theocritus (Preface, x), gets rid of Diaeresis—as, ayavbs Kai ijmos timo—seems to two by boldly rearranging the lines so as to show that a rest after the conjunction is not pre- produce fourth trochaics. cluded. THE CLASSICAL REVIEW 167 considerable class. In these an encli- Sea and strand, and a lordlier land | than sea- tic makes a fourth trochee with a pre- tides rolling and rising sun Clasp and lighten in climes that brighten ] with ceding long syllable, and the phrase day when day that was here is done, which the trochee forms or ends is said Call aloud on their children, proud | with trust to be attached so intimately to the that future and past are oner word that follows, that no break is felt.
Load more

Recommended publications
  • Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
    Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron.
    [Show full text]
  • On Translating Homer's Iliad
    On Translating Homer’s Iliad Caroline Alexander Abstract: This reflective essay explores the considerations facing a translator of Homer’s work; in par- ticular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which re- main the gold standard by which any Homeric translation is measured today. I attempt to walk the reader Downloaded from http://direct.mit.edu/daed/article-pdf/145/2/50/1830900/daed_a_00375.pdf by guest on 24 September 2021 through the process of rendering a modern translation in accordance with Arnold’s principles. “I t has more than once been suggested to me that I should translate Homer. That is a task for which I have neither the time nor the courage.”1 So begins Matthew Arnold’s classic essay “On Translating Ho- mer,” the North Star by which all subsequent trans- lators of Homer have steered, and the gold stan- dard by which all translations of Homer are judged. A reader will find Arnold’s principles referenced, directly or indirectly, in the introduction to most modern translations–Richmond Lattimore’s, Rob- ert Fagles’s, Robert Fitzgerald’s, and more recently Peter Green’s. Additionally, Arnold’s discussion of these principles serves as a primer of sorts for poets and writers of any stripe, not only those audacious enough to translate Homer. While the title of his essay implies that it is about translating the works of Homer, Arnold has little to CAROLINE ALEXANDER is the au- thor of The War That Killed Achil- say about the Odyssey, and he dedicates his attention les: The True Story of Homer’s Iliad to the Iliad.
    [Show full text]
  • Definitions & Identify 1. Which of the Following Is A
    Check for Understanding: Definitions & Identify 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. 1 long syllable followed by another long syllable d. 1 long syllable followed by a short syllable 2. Which of these words is an iamb? a. Employ b. Coffee c. Drinking d. Eat 3. Which of these words is not an iamb? a. Unfit b. Unwell c. Behold d. Freedom 4. What is the definition of a metrical foot? a. A syllable b. A group of 5 or more syllables c. A rhyme scheme in a poem d. A group of 2-3 syllables that form a rhythmic unit 5. All of these are types of metrical feet except – a. Iamb b. Trochee c. Spondee d. Taradactyl e. Dactyl 6. True or False: A metrical foot can only be one word. a. True b. False 7. True or False: An iamb must be more than one word. a. True b. False 8. True or False: Poems that rhyme have meter. a. True b. False 9. True or False: Poems that do not rhyme have meter. a. True b. False 10. True or False: A poem’s meter cannot change throughout a poem. a. True b. False Answer KEY 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c.
    [Show full text]
  • Thinking in Song
    THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition.
    [Show full text]
  • Basic Guide to Latin Meter and Scansion
    APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg.
    [Show full text]
  • Early Modern Verse, Rhetoric, and Text Analysis
    Early Modern Verse, Rhetoric, and Text Analysis by Charlene V. Smith Artistic Director [email protected] 2016 Our Mission: Brave Spirits Theatre is dedicated to plays from the era of verse and violence which contrast the baseness of humanity with the elegance of poetry. By staging dark, visceral, intimate productions of Shakespeare and his contemporaries, we strive to tear down the perception of these plays as proper and intellectual and instead use them to explore the boundaries of acceptable human behavior. Table of contents I. Welcome ...........................................................................................................5 A. Our Mission .............................................................................................................................5 B. Our Values ................................................................................................................................5 1. Text ................................................................................................................................5 2. Actor ..............................................................................................................................5 3. Women ...........................................................................................................................5 4. Audience ........................................................................................................................5 C. Our History ............................................................................................................................
    [Show full text]
  • Notes on Prosody
    Notes on Middle English Prosody Dr. A Mitchell Sound and Sense Middle English poets typically delight in the accidental harmonies and disharmonies of verbal sounds. Sometimes sound is deliberately made to echoe sense, but more often accoustic patterns do not serve a referential or mimetic function. Syncopated rhythm may just be pleasurable to hear in the voice; variation may aid expressiveness or enhance interest; or sounds may be affective or mnemonic. Sound patterns also function as a sign of the poet’s pedigree, affiliations, or tastes. But in any event critics can probably make only modest claims about the significance of acoustic effects in the vernacular – some measure of irregularity is just a natural consequence of writing in Middle English. Rhyme is the most familiar sound pattern, and it basically demands that the poetic composition be oriented around the music (not the other way around). As a result, the semantic may be subordinated to the sonic or phonetic: e.g., syntax is inverted or contorted so as to get the proper rhyme in place; rhyme words are chosen less for sense than for sound. But of course rhymes may also produce interesting semantic juxtapositions or recapitulations, and occasionally Chaucer among others uses rhyme deftly to produce harmony and discordance, parallelism and antithesis. The main types of rhyme are the following. • end rhyme (most common) • internal rhyme (within a line) • masculine (single-sllable, or when final stressed syllable rhymes as in cat/hat) • feminine (rhymed stressed syllable followed by unstressed as in butter/clutter) • exact rhyme and rime riche (on the same sounds) • near rhyme (not a failed rhyme, it has the salutary effect of avoiding monotony) You will recognize these additional sound effects: • onomatapoia • assonance • alliteration • consonance Metrics: Alliterative and Accentual-Syllabic Some Medieval English verse is alliterative (that of Langland and the so-called poems of the Alliterative Revival), but much is what we call accentual-syllabic.
    [Show full text]
  • Trochees and Iambs2
    CHAPTER III. Some Remarks on the Nature of Trochees and Iambs and their Relationship to Other Metres ‘The iambic is the characteristic rhythm of people as they talk […]. The trochaic rhythm, again, is too much akin to the comic dance, as may be seen in tetrameter verse, for the rhythm of tetrameters is light and tripping. (Aristotle, 1932: 3.8, 1408b). The present study assumes that poetic rhythm in the tonic-syllabic system current in English poetry can be best accounted for by three sets of patterns: First, an abstract matrix of expectations consisting of regularly alternating strong and weak positions. Secondly, the stress-pattern of spoken language. Some aspects of this stress pattern confirm the abstract schema (one could even say that it is from these that the reader abstracts the metric pattern); some aspects deviate from it, and produce tension. These deviations, far from being signs of imperfection, of “unmetricality”, are major prosodic and expressive assets. When the reader encounters some deviation from the abstract metric pattern, he makes adjustments in its performance, so as to preserve both his metrical set, that is, his feeling of regularly alternating strong and weak positions and, at the same time, the stress pattern of his spoken language. The adjustment frequently consists in overarticu- lation, overstressing, and additional grouping of stresses. This constitutes the third pattern, the pattern of performance. The greater the deviation, the greater the adjustment required and the tighter the additional grouping, One of the basic assumptions of the present study is, then, that the rhythm of a poem is accessible only through some kind of performance; an adequate account of a poem’s rhythm can be given only by considering the interplay of three patterns: those of metre, stresses and performance.
    [Show full text]
  • Chapter 3 Stress and Prosody
    Chapter 3 Stress and prosody 3.1 Stress Stress in Kokota is characterised by considerable variation. Some words with a particular segmental structure may be assigned stress on one pattern, while others with the same structure may be assigned stress on another pattern. A single lexeme may be assigned stress on one pattern by some speakers, and on another by others. This variation occurs even to the extent that a single lexeme may be assigned stress variably by a single speaker. In elicitation of citation forms a single speaker may give a lexeme three times, with two different stress patterns evident. There are, however, patterns to this variation. The variation results from three factors: irregular stress patterning on some lexemes resulting from the prosodic shadow of lost morphological complexity; the gradual regularisation of these irregularities; and an overall shift in the language's stress regime from moraic trochees to syllabic trochees. 3.1.1 Metrical stress and moraic theory The following discussion of stress is couched within the framework of metrical theory (see Hayes 1995:26- 31 for an introduction), which views stress as a rhythmic structure not as a feature, and moraic theory (Hayes 1995:48-54). This approach has been adopted as it appears to most adequately allow a description of stress assignment in Kokota. In syllabic stress syllables are assigned to feet of two syllables each. In moraic stress morae are parsed into feet of two morae each. Morae represent units of weight, in which each weight bearing element constitutes one mora. Onsets are not weight bearing units.
    [Show full text]
  • Prosody Word Stress and Optimality Theory
    CAS LX 500 Topics in Linguistics Language Universals Fall 2000 October 19, 2000 Paul Hagstrom Week 7b: Prosody Word stress and Optimality Theory Kager (1995). The metrical theory of word stress. In Goldsmith, J. (ed.), Handbook of phonological theory. Oxford: Blackwell Kager (1999). Optimality Theory. Cambridge: Cambridge University Press. (1) Alabama (Ala)(bama) * (2) x x x x x x x Alabama (3) word qp ws 33 swsw A la bam a Word stress—crosslinguistic preferences (4) Stressability: Words have to be big enough to carry a stress. Minimal word requirement. (5) a. íky4s /k-y4-s/ ‘I put it’ Mohawk b. íktats /k-tat-s/ ‘I offer it’ c. í:keks /k-ek-s/ ‘I eat’ d. íkya÷ks /k-ya÷k-s/ ‘I cut it’ (6) a. s÷aal/s÷al/ ‘ask (masc. sg.)’ Levantine Arabic b. idrus /drus/ ‘study’ Iraqi Arabic (7) Demarcation: Words should have stress near the edge. Crosslinguistically popular: Initial, Penultimate, Final. (Primary stress) (8) a. púli˜kalatju ‘we (sat) on the hill’ Pintupi b. yapurukitaneháse ‘verily to climb’ Warao c. ak¨netepál ‘times’ Weri (9) Rhythm: Bounded. Avoiding lapses and clashes (alternating stress) (10) tjiÆiri˜ulampatju Pintupi (tjí.Æi).(rì.˜u).(làm.pa).tju ‘the fire for our benefit flared up.’ (11) a. yapurukitanehase Warao (yà.pu).(rù.ki).(tà.ne).(há.se) ‘verily to climb’ b. enahoroahakutai e.(nà.ho).(rò.a).(hà.ku).(tá.i) ‘the one who caused him to eat’ Hungarian: main stress initial, secondary stress on odd-numbered syllables. (12) a. bóldog ‘happy’ b. bóldogsà:g ‘happiness’ c.
    [Show full text]
  • Dactylic Hexameter Verse
    Dactylic Hexameter Verse Ancient verse was composed in lines of long or short syllables in different combinations. Dactylic hexameter consists of lines made from six (hexa) feet, each foot containing either a long syllable followed by two short syllables (a dactyl: – ˇ ˇ) or two long syllables (a spondee: – –). The first four feet may either be dactyls or spondees. The fifth foot is normally (but not always) a dactyl. The sixth foot is an anceps, i.e., either a long-long (– –) or long-short (– ˇ). A line of dactylic hexameter will follow this pattern: I. Quantity Determined by Nature. Each foot of poetry thus consists of long and/or short syllables. If the syllable contains a short vowel or a long vowel, its quantity is said to be determined by its “nature” — it is short or long simply because it contains a short or long syllable. Thus: 1. A short syllable contains a short quantity vowel. 2. A long syllable contains a long quantity vowel 3. A long syllable may also contain a diphthong. Here are some general rules to assist in determining the nature of syllables: • A final -o, -i, or -u is usually long by nature. But: the final -i in tibi and mihi may be either short or long as the meter requires. (The first -i- in both words is always short.) • A final -as, -es, or -os is usually long by nature. • A final -a or -is is often short by nature. But: -a in the first declension ablative singular is always long, as is -is in the first and second declensions ablative / dative plural.
    [Show full text]
  • On Translating Homer: Last Words
    ON TRANSLATING HOMER: LAST WORDS. MATTHEW ARNOLD, 1862. E-Texts for Victorianists E-text Editor: Alfred J. Drake, Ph.D. Electronic Version 1.0 / Date 7-21-02 This Electronic Edition is in the Public Domain. DISCLAIMER OF DAMAGES [1] I DISCLAIM ALL LIABILITY TO YOU FOR DAMAGES, COSTS AND EXPENSES, INCLUDING LEGAL FEES. [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES. [3] THE E-TEXTS ON THIS SITE ARE PROVIDED TO YOU “AS-IS”. NO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS TO THE E-TEXTS OR ANY MEDIUM THEY MAY BE ON, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. [4] SOME STATES DO NOT ALLOW DISCLAIMERS OF IMPLIED WARRANTIES OR THE EXCLUSION OR LIMITATION OF CONSEQUENTIAL DAMAGES, SO THE ABOVE DISCLAIMERS AND EXCLUSIONS MAY NOT APPLY TO YOU, AND YOU MAY HAVE OTHER LEGAL RIGHTS. PRELIMINARY NOTES BY E-TEXT EDITOR: Reliability: Although I have done my best to ensure that the text you read is error-free in comparison with the edition chosen, it is not intended as a substitute for the printed original. The original publisher, if still extant, is in no way connected with or responsible for the contents of any material here provided. While a PDF document may approach facsimile status, it is not a facsimile—it requires the same careful proofreading and editing as documents in other electronic formats.
    [Show full text]