NOTES.

PUBLIUS OVIDIUS NASO: see p. 1. A. 80; H. 649.1 P.: common abbreviation for Publius. Nāso: family name, cognōmen; connected by derivation with nasus, 'nose.'

PART I.

Note on Versification. The Verse-form found in all the selections of Part I. is the Elegiac Distich, which consists of two verses, a dactylic hexameter followed by a pentameter. The sense in most cases is complete with each couplet. Cf.2 pp. 13, 14. B. 369, 1, 2; A. 362, 363; H. 609-615.

1. AMORES, I. xiii. (condensed).

"The meek-eyed morn appears, mother of dews."

THOMSON: Summer.

Page 51. 1. Aurora: here identified with the Greek Eos (cf. p. 31), celebrated in many myths. From the earliest times Aurora has been a favorite theme for poets and artists. In ancient art she was represented as a winged or flying goddess, as in a wall

=

1 B. Bennett's Latin Grammar, A. Allen and Greenough's, H. = Harkness's, the "Standard" edition. References like this, p. 60, 1. 7 (page 60, line 7), are to the pages of this book. Translations of Latin words or phrases are put in single quotation marks.

2 Cf. (confer)

=

"compare;" sc. (scilicet). N.= "note;" R. = "remark;" vocab.

=

"supply," or "understood;" "vocabulary," at the end of the book; dir. disc. = "direct discourse;" indir. disc. "indirect discourse" (oratio

=

obliqua); constr. "construction; 1. =

depends" or "dependent;" trans.

"predicate."

"line;" lit.

"literally;

"translate" or "translation;"

For other abbreviations see the list preceding the vocabulary.

painting discovered at Herculaneum (see cut on p. 14); sometimes also as riding in a chariot drawn by spirited horses, thus especially in the ornamentation of coins and gems. In modern art the painting Aurora, by Guido Reni, is ranked among the masterpieces. Mane: imp. Sic: i. e. under this condition, si manebis.

Memnonis: son of Eos (Aurora) and Tīthōnus. During the Trojan War, it was said, he led a band of Ethiopians to the assistance of Priam, and was slain by Achilles. As the body was lying on the funeral pyre, Eos, pallid with grief, besought Zeus to confer some honor upon her son. He therefore transformed Memnon's followers into a flock of birds, which divided into two contending groups above the burning pile and fought till part of them fell dead upon the embers beneath, an offering to the shade of the dead hero. Each year the Memnonides, for so the birds were called, return to the tomb, clear the ground around it, and wetting their wings in a neighboring stream, sprinkle the sepulchre with water. But Aurora ever grieves for her son, though he is placed among the immortals; and the dewdrops, fresh every morning, are her tears. Umbris: 'shade,' 'ghost;' poetic use of pl. for sing. A. 79, d; H. 130, 3.

H. 443. the tomb.

2. annua := 'each year'; agrees with avis. B. 239; A. 191; caede: i. e. by the fighting of the Memnonides above parentet: B. 279; A. 267; H. 484, I. The welfare of the dead was thought to depend in great measure upon the regularity and care with which offerings were made to them by the living. avis referring to the Memnonides. The pl. might have been expected.

3. nunc at dawn.

esse are often omitted.

somni sc. sunt. Forms of the copula 4. liquidum := ='clearly,' 'sweetly.'

B. 176, 2, N.; A. 240, a; H. 371, II.

5. prima vides: thou art the first to see.' B. 241, 2; A. 191; H. 442, N. oneratos: 'weary men,'' hard-toiling men.' arva: why not agros here? 7. somno: B. 214, 1, b; A. 243;

H. 414, I. tradis sc. eos.

8. subeant: B. 282, 1; A. 317, 1; H. 497, II. The life of the Roman school-boy was subject to severe discipline. The schools were all private, but public sentiment sustained teachers in inflicting punishment that would now be condemned as cruel. Horace has immortalized his teacher as 'the flogging Orbilius.' The poet Martial, who lived in the first century after Christ, complains that

his slumbers were disturbed before cock-crow in the morning by scolding and beating in the school near by. An ancient painting discovered at Herculaneum portrays a school-scene in which a boy, held by two slaves, is receiving a flogging on the bare back.

9. ne Nox vellet: that Night would refuse.' B. 296, 1; A. 331; H. 498, 1. 10. mota: freely, 'turned (from their course).' 11. frangeret: sc. ut. B. 296, 1, a; A. 331, ƒ, R.; H. 499, 2. axem: ‘(thy) chariot,' a part being put for the whole by synecdoche. Aurora is thought of as riding in a chariot; cf. n. to l. 1 above. 12. equus: sing. for pl. A chariot was drawn usually by two or four horses.

13. Scires := 'you might be sure.' B. 280, 3; A. 311, a; H. 486, I., N. I. audisse: i. e. eam (= Auroram) mea iurgia audisse. Rubebat: the poet playfully hints that the dawn 'grew red' not merely from the on-coming of day but also because of his upbraiding.

14. nec tamen: And yet (although she blushed) day did not' etc. adsueto 'than usual.' B. 217, 1; A. 247; H. 417.

orta: sc. est.

2. ARS AMATORIA, I. 473-476.

The drop of water wears away the rock."

Page 52. 1. ferreus anulus: in antiquity men commonly wore rings containing a seal or stamp cut either in the metal itself or on a stone set into it. At Sparta only iron rings were worn. At Rome rings at first were commonly of iron, but later gold rings became fashionable among the wealthy, the privilege of wearing them being restricted to the knights (equites). Down even into the time of the Empire, however, many Romans of the best families used only iron rings, in order to make manifest their adherence to the old-time simplicity and hardihood. Our poet thus speaks of an iron ring as we should of a gold one.

2. adsidua humo: =

'by constant (wearing of the) earth.' 3. magis durum: = durius. Ovid has expressed the same thought in his Letters from Pontus, IV. x. 5-6:—

There was a Greek proverb of the same import.

II., I.
Greek.

3. FASTI, II. 83-118.

"Arion, when through tempests cruel wracke
He forth was thrown into the greedy seas,
Through the sweet musick, which his harp did make,
Allur'd a dolphin him from death to ease."

SPENSER: Sonnet xxxviii.

1. quod, quae interrogative. B. 90, 2; A. 104, a; H. 188, Ariona: acc. ending in -a, as often in nouns from the B. 47, I; A. 63, 64; H. 68. Arīōn, the story ran, went to Sicily and Italy, where he held all spell-bound by the power of his song. Weighed down with costly gifts, he set sail from Tarentum to Corinth, where lived his friend Periander the king. On the voyage the sailors made a plot to rob and murder him, but to save their hands the defilement of blood they commanded the bard to cast himself overboard. Despairing of life, he begged the privilege of first singing. This being granted, he arrayed himself in his costliest robes, and sang his griefs with such pathos that the dolphins gathered about the ship to listen. Then as he leaped into the sea a dolphin bore him on its back over the waters straight to Taenarum (Cape Matapan), whence he made his way over land to Corinth. The ship also in due time arrived at Corinth, where the sailors, striving to conceal their crime, were confronted by the bard himself and suffered fitting punishment at the hands of Periander. At Taenarum there was a small bronze votive-offering, representing a man riding on a dolphin, presented, it was said, in commemoration of the event. Some believed that it was set up by Arion himself.

3. a

2. carmine, etc.: the effect of Arion's song is like that ascribed to the singing of Orpheus. Cf. N. to p. 145, 40. voce: freely, ‘at the sound.' Cf. B. 216, 1; H. 415, 2.

stitit: stood still.'

4. re

5. canes strikingly similar to Isaiah xI. 6: :-"The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together."

6. leae poetic for leaenae. B. 192, 1; A. 234, a; H. 391, 1. 7. Palladis alite: the owl, sacred to Athene, who hated the crow, men said, because it had once revealed unwelcome secrets to her.

9. Cynthia: Artemis. So Apollo is often called Cynthius. Why? fertur: trans. 'it is said that,' as if Cynthia were Cynthiam. 10. tamquam

modis : 6

was spell-bound at

thy strains as at her brother's,' i. e. Apollo's. Cf. p. 30.

11. Arionium: trans. as if Arionis. B. 354, 4; A. 214, a, 2; 12. lyricis: = =' of his lyre.'

H. 395, N. 2.

14. ita :

in this way,' on shipboard. quaesitas for conquisitas, 'gained.' Favorite minstrels received rich gifts.

by his minstrelsy.

arte: i. e.

15. infelix: addressing Arion. 17. namque: 'and (with good reason) for.' 18. cetera conscia turba: the other

conspirators.' How lit.?

Page 53. 19. quid tibi cum gladio: sc. est; 'What business have you with a sword?' 'What have you to do with a sword?' addressing the helmsman. B. 190; A. 231; H. 387. dubiam: 'unsteady,' because the helmsman had left his post to take up his sword against Arion.

mortem non

21. metu: B. 214, 1, d; A. 243, d; H. 414, III. deprecor: I beg not to escape from death,' 'not to ward off death I pray.' 22. līcĕāt sümptā paucă refērrě lýrā: freely, 'let me take my lyre and sing over a few (old) songs.' Often, as here, the quantities of final syllables, shown by the scanning. of the line, give the key to the construction; sumptā lyrā is thus seen to be abl. abs. lyra in ancient times lyric poetry was sung, or chanted, to the accompaniment of the lyre. Hence the name.

:

23. coronam: of leaves from the laurel tree, which was sacred to Apollo, patron deity of poets and musicians. 24. possit: subj. of characteristic.

25. bis tinctam: the ancient royal purple (in tint more akin to scarlet than our purple) was produced by a dye extracted at considerable cost from the murex, a species of shell-fish. As Tyre was a centre for the manufacture of it, it was often called 'Tyrian purple.' Garments 'twice dyed' had a deeper and richer color than those dyed but once, and were correspondingly more expensive. The ancient minstrels when about to sing clothed themselves in the richest attire that they could obtain. pallam: the long robe worn by musicians.

26. suos sonos: 'its wonted (or accustomed) strains,' showing no trace of Arion's terror or despair. A. 197, b; H. 449, 2.