only Propert. I, 3, 16; never in the third or fifth (the Ovidian distichs of the exile were not examined). For que used in the same way, 1, 3, 34 and

note.

Next to Catullus the most notable of the elegiac poets for the number, variety, and freedom of his elisions is Propertius. Tibullus is particularly strict and hardly less sparing even than Ovid. But elision is only slightly less frequent in Ovid's Carmina Amatoria than in Tibullus: the growing dislike of elision is also seen in the fact that Ovid shows a tendency to confine it more to certain fixed phrases and combinations. The percentage of lines in which elision occurs is about as follows: Catullus, 39.5%; Propertius, 23%; Tibullus, (1 and 2), 10.4%; Ovid, 8.9%. Of these the percentage of lines containing two elisions is Catullus, 5.2%; Propertius, 1.8%; Tibullus, 0.47% (1, 5, 39; 2, 1, 61, 65, and 67; 4, 5, 5; 4, 13, 16); Ovid, 0.35 %, with a steady though small diminution from the Amores to the Rem. Amor. (about 20 years). 6 lines with three elisions are found in Propertius and 2 in Catullus; with 4 elisions only one each in Propertius and Catullus. On the whole, elision is always freest in the first half of the verse. In the second hemistich of the pentameter elision is most frequent (though still not common) in the end of the last dactyl, but elision in the fifth thesis, occasional in Propertius and growing considerably in Ovid, is never found in Tibullus. Elision is increasingly more frequent in the hex. than in the pent., but the difference is never very large.

As regards the quantity of the vowels concerned, the freest and most common is a short before a short. This must occur, of course, in the arsis of a dactyl; when in the first syllable of the arsis Tibullus usually confines it to the first foot and as a rule to such extra light words as atque, saepe, que, ille, etc.; not as common in the second syllable, and except in the first foot with a tendency to drop off in the second book. Elision of a short before a long generally occurs before a monosyllable (independent or in composition), and as a rule, ictus and word accent agree. Elision of a long before a long is also subject to the same preference for the monosyllable, but in this case conflict at the thesis is the rule. Only in Book I do we find elisions so abnormal for Tibullus as 1, 2, 58, 'de me uno,' and 1, 4, 56, 'se implicuisse.' Elision of a long before a short is harsh and generally found only in old, popular, or inexperienced poets. The only exx. in Tib. vidi ego, 1, 2, 89, and illi etiam, 2, 1, 41, both in the first short of the first dactyl. These, however, had already become phraseological. We find them regularly in Ovid, and always in the same place in the verse, e.g. vidi ego, Amor. 1, 2, II,; 2, 2, 47; 2, 12, 25; 3, 4, 13, etc. So too aequo animo, Amor. 2, 7, 12; certe ego, Her. 1, 115, and the like, which we never find in Tibullus. — solito: for the touch, 1, 1, 43.

75. For the theme, 1, 8, 39-46 ff. and note. Mustard quotes Sannazaro, Eleg. 1, 1, 61

quidve torus prodest pluma spectandus et ostro,

si non est gremio cara puella mea? si trahere infelix inter suspiria noctem cogor et aeternos esse negare deos?

Cp. also Joannes Secundus, Eleg. 1, 2—

quid Tyrius sine amore torus?

-Tyrio toro: i.e. covered with Tyrian purple. Further details are suggested by 77.

76. vigilanda venit: see 70 n. on conspiciendus. The use of venire as here, instead of esse or fieri, is surprisingly limited in classical Latin considering the frequency of such constructions in the Romance languages (viene toccando, etc.). Tibullus himself goes back to the colourless esse in 1, 8, 64, 'est mihi nox multis evigilanda malis.' But Propertius again, 3, 15, 2, ' nec veniat sine te nox vigilanda mihi'; Ovid, Her. 5, 8, 'quae venit indigno poena, dolenda venit'; Amor. 1, 10, 30, 'sola locat noctes, sola locanda venit'; Fast. 3, 794, haec illa nocte videnda venit'; Plautus, Miles Glor. 891, 'ergo istuc metuo quom venit vobis faciundum utrumque'; Seneca, Thyest. 7, ‘lapis gestandus umeris lubricus nostris venit'; Dial. 2, 19, 2, 'ex quo solo sibi gaudenda veniant,' cp. 1, 8, 15; 4, 2, 12, etc. Inability to sleep is a regular affliction of the unhappy lover, cp. 2, 4, II n.; Propertius, I, 1, 33, ‘in me nostra Venus noctes exercet amaras '; I, II, 5, 'nostri cura subit memores ah ducere noctes?' Cp. Shakespeare's 'as true a lover | As ever sigh'd upon a midnight pillow.' It is also in itself a sign of love, cp. e.g. Ovid, Amor. 1, 2, I, 'esse quid hoc dicam, quod tam mihi dura videntur | strata neque in lecto pallia nostra sedent, | et vacuus somno noctem, quam longa, peregi, | lassaque versati corporis ossa dolent? | nam puto sentirem siquo temptarer amore. an subit et tecta callidus arte nocet ? | sic erit: haeserunt tenues in corde sagittae, et possessa ferus pectora versat Amor.'

77. neque: elsewhere Tibullus always uses nec, cp. 1, 6, 21 n. — plumae : i.e. feather pillows,' cp. Propert. 3, 7, 50, ‘et fultum pluma versicolore caput,' and often. A conventional attribute of luxury, Mart. 12, 17, 7, 'circumfusa rosis et nigra recumbit amomo, | dormit et in pluma purpureoque toro'; Juv. 10, 362, et venere et cenis et pluma Sardanapalli'; Pliny, 10, 54 (speaking of the white geese of Germany), 'pretium plumae eorum in libras denarii quini. et inde crimina plerumque auxiliorum praefectis a vigili statione ad haec aucupia dimissis cohortibus totis: eoque deliciae processere ut sine hoc instrumento durare iam ne virorum quidem cervices possint'; so the

freedman picturing the wealth and extravagance of his friend Trimalchio (Petron. 38), 'vides tot culcitas: nulla non aut conchyliatum aut coccineum habet, tanta est animi beatitudo,' etc. — stragula picta: another conventional attribute of luxury which is often referred to, e.g. Clemens Alexandrinus, Paed. 2, 9, p. 216, says that slumber is not dependent on τὴν πολυτέλειαν τῶν ὑποστρωννυμένων, τὰς χρυσοπάστους ταπίδας, etc. Frequent mention is made of bedclothing of precious stuffs embroidered like tapestries with all sorts of designs and pictures, cp. the desertion of Ariadne as feigned by Catullus, 64, etc. As now the sick are sometimes troubled by a florid design in wall paper, so in antiquity the physicians discouraged the use of these stragulae for the same reason, cp. Lucret. 2, 34, 'nec calidae citius decedunt corpore febres, | textilibus si in picturis ostroque rubenti | iacteris, quam si in plebeia veste cubandum est.'

78. sonitus aquae: the lullaby sung by running water was so thoroughly appreciated by the Romans. a nation, it would appear, of poor sleepers that they often caused small streams to be passed through their sleeping rooms, cp. Seneca, Epist. 100, 6, ‘desit sane varietas marmorum et concisura aquarum cubiculis interfluentium'; Dial. I, 3, 10, ‘feliciorem ergo tu Maecenatem putas, cui amoribus anxio et morosae uxoris cotidiana repudia deflenti somnus per symphoniarum cantum ex longinquo lene resonantium (cp. Hor. Od. 3, 1, 21 f.) quaeritur? mero se licet sopiat et aquarum fragoribus avocet, et mille voluptatibus mentem anxiam fallat, tam vigilabit in pluma quam ille (i.e. Regulus) in cruce'; N. Q. 3, 17, 2, 'quanto incredibiliora sunt opera luxuriae ? quotiens naturam aut mentitur aut vincit ? in cubili natant pisces,' etc.; Statius, Silv. 1, 3, 37, 'miser an emissas per cuncta cubilia lymphas?' Celsus, 3, 18 (of the care of the insane), 'confert etiam aliquid ad somnum silanus iuxta cadens,' etc.

79-94. These lines, 1, 5, 19–36, and 1, 10, 64, are the foundation of Bertin, Amours, 2, I.

79-86. Tibullus wonders whether his misfortunes are due to the fact that in some way he has incurred the anger of the gods. The thought is characteristic of the naïve idyllic type, as of course it was intended to be, cp. 1, 3, 51; 2, 6, 17; 4, 4, 14; 3, 4, 15.

'Have I offended Venus in word (79-80); have I offended the gods in deed (81-82)? If so I will atone (83-86).'

79. verbo: i.e. some blasphemous expression provoked by his misfortunes in love, cp. 2, 6, 17. 1, 2, 39–40 is not referred to. For a similar naïve fear of verbal offence, see 1, 2, 7-14; 2, 6, 18 and note.

81. feror adiisse: i.e. 'am I reported to,' etc. fertur in this meaning is common in all styles; the first person, as here, seems to be poetic and very

rare; so 4, 7, 10; Ovid, Her. 6, 114; Verg. A. 10, 631.- incestus: i.e. either morally or ceremonially, 2, 1, 9–14 and notes.

82. deripuisse: the regular word for the removal of offerings from a temple, and the opposite of suspendere, i.e. ex-votos then as now were regularly

hung up.

The lover steals garlands which have been offered at a shrine in order to give them to his mistress. This habit, fostered by motives of poverty or of economy as the case may be, is best illustrated by 2, 4, 21–26.

83-84. Both acts are frequently mentioned, e.g. Propertius, 3, 8, 11, 'quae mulier rabida iactat convicia lingua | et Veneris magnae volvitur ante pedes'; Statius, Silv. 5, 1, 162, nunc anxius omnibus aris | illacrimat, signatque fores, et pectore terget | limina '; Arnob. I, 49, 'cum per omnia supplices irent templa, cum deorum ante ora prostrati limina ipsa converrerent osculis,'

etc.

83. procumbere templis: ad templa would have been the form in prose; so too in poetry, cp. 1, 9, 30; 2, 1, 74; 4, 13, 23, i.e. ad='at,' as also in I, I, 28; 1, 10, 38; 2, 5, 54; 2, 6, 4. The dative, however, is the most per- / sonal of all the cases, and lends itself with peculiar readiness to the needs of a figurative style. The large extension, therefore, especially in the various types under the general category of the dative of personal interest (e.g. the dative with transitive and intransitive verbs, the dative of agent, the ethical dative, the dative of reference, the dative of advantage and disadvantage, the dativus energicus) is characteristic of the Augustan poets, and especially of Tibullus. In fact one of the most striking peculiarities of Tibullus's style | is his extensive and picturesque use of the dative. Here for instance the dative all but personifies for the moment the grim structures before which the suppliant is grovelling.

So too of his large use of the dativus energicus instead of a genitive or a possessive pronoun, cp. e.g. I, 2, 96; 1, 1, 64; 1, 3, 31; 1, 4, 4; 1, 8, 47; 1, 8, 31; 1, 6, 40; 1, 10, 56; 2, 1, 78; 2, 2, 6; 2, 4, 4; 2, 5, 31 and 121; 2, 6, 38; 1, 4, 13; 4, 2, 4; 4, 9, I.

...

85-86. These lines remind us of the mediaeval penance; in the poet's time they suggested the worship of Isis, cp. 1, 3, 23-24 and notes; Seneca, Dial. 7, 26, 8, 'cum sistrum aliquis concutiens ex imperio mentitur . . . cum aliquis genibus per viam repens ululat,' etc.; Juv. 6, 524 (of a superstitious woman), 'inde superbi | totum regis agrum nuda ac tremibunda cruentis | erepet genibus'; Ovid, Pont. I, 1, 51, etc.; Cassius Dio, 43, 21, 2.

86. tundere poste caput: Cicero does not approve of this drastic method of exhibiting sorrow or repentance, cp. Tusc. Disput. 3, 62, 'illa varia et detestabilia genera lugendi, paedores, muliebres lacerationes genarum, pec

toris, feminum, capitis percussiones,' but it was not at all uncommon, cp. Augustus himself after the defeat of Varus, Sueton. Aug. 23, ‘adeo denique consternatum ferunt, ut per continuos menses barba capilloque summisso caput interdum foribus illideret vociferans "Quintili Vare, legiones redde."' The best description of this orgiastic stage of mourning is perhaps Lukian, De Luctu, 12, οἰμωγαὶ ἐπὶ τούτοις καὶ κωκυτὸς γυναικῶν καὶ παρὰ πάντων δάκρυα καὶ στέρνα τυπτόμενα καὶ σπαραττομένη κόμη καὶ φοινισσόμεναι παρειαί καί που καὶ ἐσθὴς καταρρήγνυται καὶ κόνις ἐπὶ τῇ κεφαλῇ πάττεται καὶ οἱ ζῶντες οἰκτρότεροι τοῦ νεκροῦ· οἱ μὲν γὰρ χαμαὶ κυλινδοῦνται πολλάκις καὶ τὰς κεφαλὰς ἀράττουσι πρὸς τὸ ἔδαφος, ὁ δὲ εὐσχήμων καὶ καλὸς καὶ καθ ̓ ὑπερβολὴν ἐστεφανωμένος ὑψηλὸς πρόκειται καὶ μετέωρος ὥσπερ ἐς πομπὴν κεκοσμημένος.

87-88. Here the poet turns suddenly on some unfeeling scoffer in his audience (laetus, he jests at scars that never felt a wound') and takes refuge in the universal folk doctrine of Nemesis or balance reflected in numerous popular sayings, ''Tis a long lane that has no turning,' 'Pride goeth before a fall,' etc., and appearing again and again in antique authors, cp. 1, 5, 5–6 n.; I, 5, 69-70 n.; Soph. Elektra, 915, ἀλλ ̓ ὦ φίλη, θάρσυνε· τοῖς αὐτοῖσί τοι ¦ οὐχ αὑτὸς αἰεὶ δαιμόνων παραστατεί, etc., cp. 2, 6, 19-20 n.

esto, 1, 8, 50; servato and The second imperative

87. at: I, 1, 33 n. — — caveto: so timeto, 1, 5, 69; caveto, 1, 6, 16 f.; caveto, 4, 2, 3; faveto, 4, 5, 9. outside of certain verbs is more or less old-fashioned and solemn, and is therefore not infrequent in the poets. Sometimes the distinction can be felt but not always; e.g. faveto, 4, 5, 9, is immediately preceded by cape.

88. uni: for the (rare and poetic) dative with saevire cp. Ovid, Her. 4, 148 and 83 n. on templis. — usque : i.e. semper. This use of usque as an independent adverb is characteristic of the folk speech (hence abundant in Plautus and Terence) and of the poets, esp. of the elegy and of Martial; every one remembers Catullus's Egnatius qui candidos habet dentes | renidet usque quaque.' The use of usque thus in Livy is a mark of his poetical style. Elsewhere in classical prose it is very rare, and only in certain phrases like usque adeo, dum, donec, etc. In the elegiac poets this use of usque is especially common in the pentameter, and in over 80% of the cases it begins the last dactyl as here. Eleven, for example, are found in Tibullus (8 of them in the pentameter), and all in the last dactyl (1, 2, 88; 3, 16; 5, 74; 6,8; 8, 36; 9, 38; 2, 4, 14; 2, 5, 32). Hence the tendency of certain cadences to become fixed,e.g. usque moras, 1, 3, 16; Ovid, Fast. 3, 686; usque fores, 1, 5, 74; Ovid, Amor. 1, 4, 62; usque manu, 2, 4, 14; Ovid, Fast. 3, 872; Ibis, 424, etc.

In the hexameter the usual position of usque (though never so in Tibullus, cp. 2, 5, 63 and 111; 2, 6, 35) is at the beginning of the fifth foot. 89-96. The application of this law of Nemesis to love runs all through