THE SEASONS. I, I, 27: sed canis aestivos ortus vitare. 1, 1, 47: gelidas hibernus aquas cum fuderit Auster. 1, 2, 29: non pigra nocent hibernae frigora noctis. I, 4, 2: ne capiti soles, ne noceantque nives. 1, 4, 5: hibernae producis frigora brumae, canis. ... 1, 4, 19: annus in apricis maturat collibus uvas. 1, 4, 42: canis arenti torreat arva siti. 1, 7, 21: arentes cum findit Sirius agros. 2, 1, 47: terunt messes, calidi cum sideris aestu deponit flavas 2, 1, 49: levis verno flores apis ingerit alveo. 2, 1, 59: puer verno . . . de flore coronam fecit. 2, 6, 22: semina, quae magno fenore reddat ager. 4, 2, 13: talis felix Vertumnus mille habet ornatus. ... 1, 2, 49: tristi depellit nubila caelo. I, 3,93: Aurora nitentem Luciferum roseis candida portet aquis. 1, 4, 20: annus agit certa lucida signa vice. 1, 4, 43: praetexens picea ferrugine caelum. 1, 4, 66: dum caelum stellas. 1, 9, 10: ducunt instabiles sidera certa rates. 1, 9, 35: sidera caeli lucere vias. ... 1,9, 62: dum rota Luciferi provocet orta diem. 2, 1, 88: lascivo sidera fulva choro. 2, 3, 56: Solis et admotis inficit ignis equis. 2, 4, 17: solisque vias, ubi orbem conplevit, versis Luna 2, 5, 71: mala signa cometen . . 2, 5, 75: Solem defectum lumine 1, 1, 45: inmites ventos. I, I, 47: Auster. 1, 4, 21: periuria venti 1, 4, 44: nimbifer Eurus. deplueretque lapis. pallentes WINDS. . equos. equis. 1, 7, 25: nullos tellus tua postulat imbres, arida nec pluvio . . . Iovi. 2, 5, 59: fluitantibus undis Solis . . . abluit amnis equos. 2, 5, 80: indomitis merge sub aequoribus. 2, 6, 3: vaga ducent aequora. STREAMS. I, I, 28: ad rivos praetereuntis aquae. I, 2, 44: fluminis . . . rapidi. 1, 2, 77: soporem nec sonitus placidae ducere posset aquae. 1, 3, 68: quam circum flumina nigra sonant. 1, 4, 66: dum vehet amnis aquas. I, 7, 11: Rhodanusque celer lympha Liger ... 1, 7, 22: fertilis . . . Nilus . . . herba Iovi. 1, 9, 50: liquida deleat amnis aqua. 4, 4, 8: in pelagus rapidis evehat amnis aquis. serpis aquis. frigidus.. Taurus. VALLEYS. 2, 3, 19: caneret dum valle sub alta. 2, 2, 15: gemmarum quidquid felicibus Indis nascitur. 2, 3, 6: pingue. solum. ... 2, 4, 8: lapis, vel . . . cautes. 2, 4, 27: viridesque smaragdos. 2, 4, 30: lucida concha. 4, 2, 19: niger rubro de litore gemmas . . . Indus aquis. FIRE. 1, 9, 49: rapida Vulcanis flamma torreat. 2, 4, 40: eripiant. . . ventus et ignes opes. 2, 4, 42: nec quisquam flammae sedulus addat aquam. 2, 5, 81: sacris crepitet bene laurea flammis. 4, 6, 17: celeres urunt altaria flammae. The foregoing references are taken from only those parts of the Tibullus collection which are generally agreed to be the composition of Tibullus himself. A much smaller proportion of references to any and all sorts of natural phenomena occurs in the Lygdamus part of the collection, another striking confirmation of the difference in authorship. Tibullus was a student rather of human nature and character than of the phenomena of the world about him. His interests were largely concentrated in his Delia, his Nemesis, and his boy love Marathus. Thus the blush of the cheek, the fire of the eye, the graceful curve of the arm and the shoulder, were to his enthralled heart-vision no less real, and far more dear, than the beauties of the earth and the sky. 33. Interpretation of Catullus viii., by Professor W. A. Heidel, of Iowa College (read by title). This poem presents a peculiar problem to the student. One should expect to find it easy of interpretation, being so brief; but a glance at the commentaries will convince one that there is hardly a beginning of agreement among scholars. Doering thinks that in this poem Catullus "repente fit philosophus"; Riese concludes that the poet has lost confidence in the displeasure he has vowed, and "in Ton und Haltung unsicher uebertreibt." Similar disagreement appears when one examines the opinions of Ellis, Ribbeck, Haupt, Baehrens, Schwabe, and others. Editors seem to approach the poem by preference by way of the words “truces iambos" in c. xxxvi. 5, which are almost invariably applied to c. viii. In regard to this point we may note three considerations: (1) there is no need of insisting on an iambic poem, supposing even that our liber Catulli contains the verses in question, for c. xl. 2 and c. liv. 6 sufficiently prove that hendecasyllables may be denoted as 'iambi'; (2) if we grant that c. viii. was meant to be characterized in truces iambi,' we should remember that the poem in question was such only ex sententia Lesbiae, who, in her petulancy at being bidden begone, might very well employ stronger terms than the case warranted; (3) the tone of c. xxxvi. is so unmistakably sportive that we cannot fairly infer from it that the verses referred to were seriously intended. Yet Baehrens calls c. viii. "iambi trucissimi." We may, therefore, first essay an interpretation of the poem taken by itself, with a view to find its meaning and the spirit in which it was written. Miser Catulle, desinas ineptire, Et quod uides perisse perditum ducas. Our poet thus confesses his unhappiness and exhorts himself to eschew folly. We need not now determine the precise degree of unhappiness which Catullus feels, but we may note that it is practically identified with the folly which consists in clinging in fancy and affection to what his judgment has pronounced quite lost. There is a suggestion of obstinacy in the willed renunciation; but there is no settled state of feeling. It is rather a complex mood characterized by a rout of eddying emotions. Scarcely has he admonished himself to cease from folly, when we discern the need of this conscious effort. Involuntarily he lapses into a pensive revery in which he reverts regretfully to the past, Fulsere quondam candidi tibi soles, — a past the thought of which enchants him by contrast with the darkened present. And all the happiness of those fair days was associated with the person of his now unconsenting lady-love, Cum uentitabas quo puella ducebat. That dear name 'puella' is the open sesame to unlock the flood-gates of his heart's affections, and, quite forgetting his courted obstinacy, he utters what is at once a confession and a vow, Amata nobis quantum amabitur nulla. Then the enthusiasm of his mood, at first subdued, grows by degrees as he dwells in fancy on each sweet detail of their once happy intercourse, Ibi illa multa tum iocosa fiebant, Surely ""T had been pity To sunder hearts so equally consented," and as he comes to feel it fully, the flood of bliss that springs from other days finds renewed expression in the emphatic asseveration, Fulsere uere candidi tibi soles. But the poet awakens from his dreams to a realization that the promise of the past has been broken to his hopes. She who once was fain has grown reluctant; and the thought of her refusal brings him round to the starting-point, an exhortation addressed to himself to meet coldness with coldness, Nunc iam illa non uolt: tu quoque, impotens, noli. However he may admonish himself, he is still impotens, "peu maître de luimême," as Benoist and Rostand well put it. All the impulses that decline to own the supremacy of reason are in open revolt. But pain, aside from its other blessed ministries, tends insensibly and often illogically to foster hope; and so we find, in his next utterance, the poet's heart divided against itself, Nec quae fugit sectare, nec miser uiue, Sed obstinata mente perfer, obdura. Here amid the loud protestations of fixed determination there is the still, small voice of a new-born hope. We detect it in the words "nec quae fugit sectare," a manifest reminiscence of Sappho, fr. I, καὶ γὰρ αἱ φεύγει, ταχέως διώξει, It is this new thought that reduces to harmony the impulses warring in the poet's heart: he will meet disdain with disdain, assured that, dealing as he is with a woman, his artifice will produce the desired result. For he had the assurance of Terence (Eunuch. 811. foll.) "Iam haec tibi aderit supplicans | Ultro. - Credin? -Immo certe: noui ingenium mulierum: | Nolunt ubi uelis, ubi nolis cupiunt ultro," which was quite closely followed by Ford in The Broken Heart, I. ii. So with an ill-concealed grimace of affected resolution he bids her farewell, Uale, puella! Iam Catullus obdurat. The addition of the tender 'puella,' in which he has just acknowledged the charm of auld lang syne, shows that the formal and curt uale' is not to be taken too seriously; and it requires no superior acumen to detect a note of affectation in 'iam.' But, as if to reassure his anxious heart that his experiment will not fail, he recurs to his text and murmurs a word from Sappho, Nec te requiret nec rogabit inuitam (oỷк ¿0éλoɩσa). Glad as Catullus is to avail himself of the prescription of the tenth muse, he will make assurance doubly sure. He himself has just experienced the power of the spell exercised over the lover's heart by the thoughts of a happy past. He there |