초기 로마제국의 라틴어 시 구절.The Book of The Oxford Book of Latin Verse, by Various

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초기 로마제국의 라틴어 시 구절.The Book of The Oxford Book of Latin Verse, by Various
5세기까지의 로마제국의 초기에 라틴어로된 시 구절 384개를 당시 작가별로 수록하고 영어로 번역해서 책으로 만듬.
Title: The Oxford Book of Latin Verse
From the earliest fragments to the end of the Vth Century A.D.
Author: Various
Editor: Heathcote William Garrod
Language: English, Latin
From the earliest fragments to the end of the Vth Century A.D.
Chosen by
H.W. Garrod
Fellow of Merton College.
Oxford
At the Clarendon Press

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초기 로마제국의 라틴어 시 구절.The Book of The Oxford Book of Latin Verse, by Various

Table of Contents

Preface
Passages,AUTHORS.1-384. 작가별로 384개 시구절.대략 시구절 50개 단위로 북마크 책표지 나눔.
Translations and Imitations
Note upon the Saturnian metre
Glossary of old latin
Index of Authors and Passages
Index of First Lines
Footnotes

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초기 로마제국의 라틴어 시 구절.The Book of The Oxford Book of Latin Verse, by Various
5세기까지의 로마제국의 초기에 라틴어로된 시 구절 384개를 당시 작가별로 수록하고 영어로 번역해서 책으로 만듬.
Title: The Oxford Book of Latin Verse
From the earliest fragments to the end of the Vth Century A.D.
Author: Various
Editor: Heathcote William Garrod
Language: English, Latin
From the earliest fragments to the end of the Vth Century A.D.
Chosen by
H.W. Garrod
Fellow of Merton College.
Oxford
At the Clarendon Press

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초기 로마제국의 라틴어 시 구절.The Book of The Oxford Book of Latin Verse, by Various
PREFACE
The plan of this book excludes epic and the drama, and in general so much of
Roman poetry as could be included only by a licence of excerpt mostly dangerous
and in poetry of any architectonic pretensions intolerable. If any one remarks as
inconsistent with this plan the inclusion of the more considerable fragments of
Ennius and the early tragedians, I will only say that I have not thought it worth
while to be wiser here than Time and Fate, which have of their own act given us
these poets in lamentable excerpt. A more real inconsistency may be found in
my treatment of the didactic poets. It seemed a pity that Didactic Poetry―in some
ways the most characteristic product of the Roman genius―should, in such a
Collection as this, be wholly unrepresented. It seemed a pity: and it seemed also
on the whole unnecessary. It seemed unnecessary, for the reason that many of
the great passages of Lucretius, Vergil, and Manilius hang so loosely to their
contexts that the poets themselves seem to invite the gentle violence of the
excerptor. These passages are 'golden branches' set in an alien stock―non sua
seminat arbos. The hand that would vi pluck them must be at once courageous
and circumspect. But they attend the fated despoiler:

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초기 로마제국의 라틴어 시 구절.The Book of The Oxford Book of Latin Verse, by Various
다수.
INTRODUCTION
I
Latin poetry begins where almost all poetry begins―in the rude ceremonial of a
primitive people placating an unknown and dreaded spiritual world. The earliest
fragments are priestly incantations. In one of these fragments the Salii placate
Leucesius, the god of lightning. In another the Arval Brethren placate Mars or
Marmar, the god of pestilence and blight (lues rues). The gods are most dreaded
at the seasons most important to a primitive people, seed- time, for example, and
harvest. The Salii celebrated Mars at seed- time―in the month which bears his
name, mensis Martius. The name of the Arval Brethren betrays their relation to
the gods who watch the sown fields. The aim of this primitive priestly poetry is
to get a particular deity into the power of the worshipper. To do this it is necessary
to know his name and to use it. In the Arval hymn the name of the god is
reiterated―it is a spell. Even so Jacob wished to know―and to use―the name
of the god with whom he wrestled. These priestly litanies are accompanied by
wild dances―the Salii are, etymologically, 'the Dancing men'―and by the
clashing of shields. They are cast in a metre not unsuited to the dance by which
they are accompanied. This is the famous Saturnian metre, which remained the
metre of all Latin poetry until the coming of the Greeks. Each verse falls into two
halves corresponding to the forward swing x and the recoil of the dance. Each
half- verse exhibits three rhythmical beats answering to the beat of a three- step
dance. The verse is in the main accentual. But the accent is hieratic. The hieratic
accent is discovered chiefly in the first half of the verse: where the natural accent
of a disyllabic word is neglected and the stress falls constantly on the final
syllable.[ 2] This hieratic accent in primitive Latin poetry is important, since it was
their familiar use of it which made it easy for the Romans to adapt the metres of
Greece.