392 ANALYTIC ORTHOGRAPHY. 
ét né nds inducas in téntationé, séd libéra nds 4 malo. na, tut, est regnii, ét impeérii.,, 
é&t magnificéntia, In sémpitérnd.— Gouraud, pl. 12. 
645. Our variations from the Latin text are due to the inconsistencies of Latin ortho- 
eraphy in the use of Q, M, U, X,—and E both as a coalescent and a vowel. In several 
cases we mark length ‘by position,’ where the vowel is naturally short, by (:). We omit 
the coalescent dots, and write aj, oj, for 2, ce. 
VIRGIL. 
646. In the following example, the first and fourth feet of the first line must have no 
accent, because the verse has the rhythm of time, the ear being informed by the accent 
of the fifth and sixth feet, that the measure is hexameter. Vilnts, at the end of the 
third line, has its time made up by the consonant at the beginning of the next line, or by 
acomma point. Aeneid, I, 34, 35, 36, 220. 
vics e conspect|u _—sicullaj _telltris in | altu, 
scarce wére | théy frée | fro6m_ sicilys shore | ott in the high sea 
véla da|bant lajt|i et sptjmas salis | ajre rujebant— 
sailing in|to white-|capt waves | théir métal | parting the | waters, 
cum jun..| ajtérjau”™ sérvjans sub | péctore vulnis— 
whén jujno al ways hoéldjing hér | wotnd in re|mémbrance—.... 
prajcipujé pits |ajnéasnu/e| acris djronteyj—l. 220. 
now chiefly | the pious | enelas the | active, &e. 
fate of the 
647. The false ‘hexameters’ of Southey, Longfellow, and others, together with our 
accentual music, crush the rhythmic sense which Latin verse should have fostered, and 
gives us the barbarous relish for the rhythm of noise which rustics exhibit when they 
think their step in the dance should be heard as well as seen and felt;—the dance (the 
ancient chorus) being the only rhythm of time we are acquainted with. 
648. The last Latin line, therefore, strikes the modern ear as a five-foot measure of 
English amphibrachs— 
the fate of 
and ly’cus 
now chiefly | the pious | enéas, the active 
ordntes | and also | of amyc bemoans him— 
or like the next, in English dactyls—the normal form as recognised in our music— 
LAGS OEE, MEA SED I ETLIE ACRE DS MENS ae now 
chiefly the | pious e|néas, the | fate of the | active o- 
rontes and | also of | amye and | lycus _ be|moans him. 
