CHAPTER IV.
[1] E.g. In the first 100 lines of the Remedium Amoris, a long continuous treatise, there is only one couplet where the syntax is carried continuously through, v. 57, 8, Nec moriens Dido summa vidisset ab arce Dardanias vento vela dedisse rates, and even here the pentameter forms a clause by itself. Contrast the treatment of Catullus (lxvi. 104-115) where the sense, rhythm, and syntax are connected together for twelve lines. The same applies to the opening verses of Virgil's Copa. Tate's little treatise on the elegiac couplet correctly analyses the formal side of Ovid's versification. As instances of the relation, of the elegiac to the hexameter—iteration (Her. xiii. 167), Aucupor in lecto mendaces caelibe somnos; Dum careo veris gaudia falsa iuvant: variation (Her. xiv. 5), Quod manus extimuit iugulo demittere ferrum Sum rea: laudarer si scelus ausa forem: expansion (id. 1), Mittit Hypermnestra de tot modo fratribus una: Cetera nuptarum crimine turba iacet: condensation (Her. xiii. 1), Mittit et optat amans quo mittitur ire salutem, Haemonis Haemonio Laodamia viro: antithesis (Am. I. ix. 3), Quae bello est habilis veneri quoque convenit aetas; Turpe senex miles turpe senilis amor. These illustrations might be indefinitely increased, and the analysis carried much further. But the student will pursue it with ease for himself. Compare ch. ii. app. note 3.
[2] Ecl. x. 2.
[3] Two Greek Epigrams (Anthol. Gr. ii. p. 93) are assigned to him by Jacobs (Teuffel).
[4] Quint. x. 1, 93.
[5] Mart. iv. 29, 7.
[6] Id. vii. 29, 8.
[7] v. 17, 18.
[8] Tr. II. x. 6.
[9] El. I. i. 19.