Level 4; literature; the Pater Noster of Juvencus [3] notes on Latin poetry [2] long and short syllables

[2] Identifying long and short vowels

A syllable is defined as long or short dependent upon the length of the vowel sound. How do you know if a syllable is long or short? There are two important terms to note:

[i] long by nature i.e. the vowel is always long – not only in poetry – for example:

[l.2] NŌ-mĭ-nĭs ¦ Ō-rĀ- ¦ mūs vĕ-nĕ- ¦ rĀ- tⁱŌ ¦ sĀnc- tĭ- fĭ- ¦ cĒ-tŭr

Diphthongs are always long, for example:

[l.1] cĀE-lī

[l.4] rĕ-¦ clĀU-dăt

[l.9] Ēt nōs ¦ hĀUt ă-lĭ-¦ tēr cōn- ¦ cē-dĕ-rĕ ¦ fŌE-nŏ-ră ¦ nōs-trīs

[l.10] Tē-trī ¦ sĀE-vă prŏ- ¦ cūl tēmp- ¦ tā-tⁱō ¦ dĀE-mŏ-nĭs ¦ āb-sĭt

[l.11] ĀE-quĕ mă- ¦

[ii] long by position; this is a crucial feature of Latin poetry:

Where a vowel is followed by two consonants [VCC] – even if those consonants are split between words –the vowel becomes long; there are exceptions but it is important to become familiar with this idea since it is an integral part of the rhythm.

[l.2] The verb ŌrĀmus has two vowels that are long by nature – they are always long. However, -mus is usually short, but in the verse, because it is followed by two consonants, it becomes long: ō-rā- ¦ mŪS ͜ Vĕ-nĕ- [VCC]

All the capitalised vowels in bold are normally short, but here they are long [VCC]:

[l.1] genitor (/o/ usually short) > gĕ-nĭ- ¦ tŌR ͜ Rĕ- [VCC]; in (/i/ usually short) > ĪN ¦ Vēr [VCC]

[l.3] ĪN ͜ Nō- ¦ bīs Pă- tĕr ¦ ĀL-Tĕ tŭ- ¦ ī: trĀN- ¦ QU-ĪL-Lă-quĕ ¦ mŪN-Dō

[l.5] fīat (/a/normally short) > fī- ¦ ĀT ͜ Tŭ-ă

[l.11] tol-lat (/o/ normally short) > tŌL-Lat

[iii] V + X: a vowel followed by /x/ becomes long since /x/ is composed of two consonant sounds /ks/:

[l.7] mox (normally short) > tŭ-ă ¦ mŌX [V + /ks/]

Topic / Level 4; animals at work (4) elephants in war; how to train an elephant

 Even today horses used by, for example, the police are trained to stay calm when experiencing noise and / or violent behaviour. Similarly, the unknown author of Dē Bellō Āfricō describes the training of elephants for warfare. Elephants are easily startled and, like any other wild animal, may act unpredictably. Therefore, what we read here is a training scenario emulating an attack by projectiles fired by slings.

The elephants are lined up facing soldiers who act as the enemy. Behind the elephants are ‘friendly’ soldiers. The aim is to ensure that, even if the animals, frightened by the enemy action, turn tail and head for ‘their side’, they will be forced by a second volley of stones to turn around again and continue to advance towards the enemy. As the author implies, it’s a high risk tactic since elephants do not know whose side they are on!

The adjective rudis has multiple meanings including: untrained, coarse, awkward or wild. In other words, elephants are not quick on the uptake, and considerable patience is required.

Scīpiō interim elephantōs hōc modō condocefacere īnstituit. 

• Scipio meanwhile began training elephants in the following way.

Duās īnstrūxit aciēs, 

• He drew up two (battle-) lines,

ūnam funditōrum contrā elephantōs,

• one (line) of slingers facing the elephants

quae quasi adversāriōrum locum obtinēret 

• which, as it were, would take the place of the enemy

et contrā eōrum frontem adversam lapillōs minūtōs mitteret; 

• and hurl small stones against their / the elephants’ opposing front

deinde in ōrdinem elephantōs cōnstituit, 

• next he arranged the elephants in line

post illōs autem suam aciem īnstrūxit ut, 

• and behind them drew up his own line so that,

cum ab adversāriīs lapidēs mittī coepissent 

• when the stones had started to be thrown by the enemy

et elephantī perterritī sē ad suōs convertissent, 

• and the terrified elephants had turned back upon their own side

rūrsus ab suā aciē lapidibus missīs eōs converterent adversus hostem. 

• they would again turn them against the enemy by stones thrown from his own line.

Quod aegrē tardēque fīēbat; 

• This was done with difficulty and slowly;

rudēs enim elephantī multōrum annōrum doctrīnā ūsūque vetustō vix ēdoctī 

• for raw elephants, scarcely trained even by many years of instruction and long experience

tamen commūnī perīculō in aciem prōdūcuntur. 

• are nevertheless brought into the battle-line, and equally dangerous to both sides.

Level 4; literature; the Pater Noster of Juvencus [2]; notes on Latin poetry [1] metre

Some basics of Latin poetry were first discussed here:

04.09.25: The best place to start Latin poetry is … in a cave! [2]; some basics concerning Classical Latin poetry

https://www.facebook.com/groups/latinforstarters/posts/774016828542921/

[i] In print, you will either come across completely unscanned versions of verse or, as I have written below, edited texts with naturally long vowels marked (see the next post: identifying long and short syllables)

Sīdereō genitor residēns in vertice caelī

Nōminis ōrāmus venerātiō sānctificētur

In nōbīs Pater alte tuī: tranquillaque mundō

Adveniat rēgnumque tuum lūx alma reclaudat

In caelō ut terrīs fīat tua clāra voluntās

Vītālisque hodiē sānctī substantia pānis

Prōveniat nōbīs; tua mox largītiō solvat

Innumera indulgēns errōris dēbita prāvī

Et nōs haut aliter concēdere foenora nostrīs

Tētrī saeva procul temptātiō daemonis absit

Aequē malīs tua nōs in lūcem dextera tollat

[ii] A fully scanned version would have this or a similar format:

l.1: Sī-dĕ-rĕ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ dēns īn ¦ vēr-tĭ-cĕ ¦ cāe-lī

l.2: Nō-mĭ-nĭs ¦ ōr-ā- ¦ mūs vĕ-nĕ- ¦ rā- tⁱō ¦ sānc- tĭ- fĭ- ¦ cē-tŭr

l.3: Īn nō- ¦ bīs pă- tĕr ¦ āl-tĕ tŭ- ¦ ī: trān- ¦ qu-īl-lă-quĕ ¦ mūn-dō

l.4: Ād-vĕ-nĭ- ¦ āt rēg- ¦ nūm-quĕ tŭ- ¦ ūm lūx ¦ āl-mă rĕ- ¦ clāu-dăt

l.5: Īn cāe- ¦ l(o) ͜   ūt tēr- ¦ rīs fī- ¦ āt tŭ-ă ¦ clāră vŏ- ¦ lūn-tās

l.6: Vī-tā- ¦ līs-qu(e) ͜   (h)ŏ-dĭ- ¦ ē sānc- ¦ tī sūb- ¦ stān-tĭ-ă ¦ pā-nĭs

l.7: Prō-vĕ-nĭ- ¦ āt nō- ¦ bīs; tŭ-ă ¦ mōx lār- ¦ gī-tⁱō ¦ sōl-văt

l.8: Īn-nŭ-mĕ- ¦ r(a) ͜   īn-dūl- ¦ gēns ēr- ¦ rō-rīs ¦ dē-bĭ-tă ¦ prāvī

l.9: Ēt nōs ¦ hāut ă-lĭ-¦ tēr cōn- ¦ cē-dĕ-rĕ ¦ fōe-nŏ-ră ¦ nōs-trīs

l.10: Tē-trī ¦ sāe-vă prŏ- ¦ cūl tēmp- ¦ tā-tⁱō ¦ dāe-mŏ-nĭs ¦ āb-sĭt

l.11: Āe-quĕ mă- ¦ līs tŭ-ă ¦ nōs īn ¦ lū-cēm ¦ dēx-tĕ-ră ¦ tōl-lăt

As an example. The links below are to a poem V by Catullus:

[i] The first link takes you to a completely unscanned version

http://rudy.negenborn.net/catullus/text2/l5.htm

[ii] The second takes you to a scanned version

http://rudy.negenborn.net/catullus/text2/sc5.htm

[1] Metre

References are made here to long and short syllables; that is discussed in the next post

Vincent describes the verse as dactylic hexameter:

(1) a dactyl is a long syllable followed by two short syllables: — UU

Line 1: SĪ-DĔ-RĔ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ dēns īn ¦ vēr-tĭ-cĕ ¦ cāe-lī

(2) Two short syllables can equal one long syllable i.e. — UU = — — ; a combination of two long syllables is known as a spondee

Sī-dĕ-rĕ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ (2) DĒNS ĪN ¦ vēr-tĭ-cĕ ¦ cāe-lī

Combinations, six feet of six dactyls or spondees, is known as hexameter.

[1] Sī-dĕ-rĕ- ¦ [2] ō gĕ-nĭ- ¦ [3] tōr rĕ-sĭ- ¦ [4] dēns īn ¦ [5] vēr-tĭ-cĕ ¦ [6] cāe-lī

(3) The last syllable of a line can be long or short; this is usually indicated by X i.e. — X; a syllable of this type is called an anceps

[i] In the first line, the final syllable is long:

Sī-dĕ-rĕ- ¦ ō gĕ-nĭ- ¦ tōr rĕ-sĭ- ¦ dēns īn ¦ vēr-tĭ-cĕ ¦ cāe-LĪ

[ii] In Line 2 the final syllable is short:

Nō-mĭ-nĭs ¦ ōr-ā- ¦ mūs vĕ-nĕ- ¦ rā- tⁱō ¦ sānc- tĭ- fĭ- ¦ cē-TŬR

When a poem is scanned, sometimes no mark is given above an anceps because it makes no difference.

[iii] Note that /i/ when it is with another vowel e.g. -iō- or -ia- can, depending on the rhythm, be [a] similar to English /y/ and not scanned separately,  or [b] a separate vowel sound

[a]

[l.2] vĕ-nĕ- ¦ rā- tⁱō [imagine ve-ne-¦ ra-tyo (or -tjo- as written in some scans)]

[l.7] lār- ¦ gī-tⁱō

[l.10] tēmp- ¦ tā-tⁱō

[b]

[l.4] the /i/ is scanned as an independent vowel: Ād-vĕ-nĭ- ¦ āt i.e. it is pronounced distinctly seperately from the following /a/

[l.6] sūb- ¦ stān-tĭ-ă

[l.7] Prō-vĕ-nĭ- ¦ āt

Level 4; literature; the Pater Noster of Juvencus [1] text and translation

Vincent recites the Pater Noster of Juvencus (c. 330 AD)

[l.1] Sīdereō genitor residēns in vertice caelī │ Creator / Father sitting in the starry summit of heaven

• genitor, -tōris [3/m]: father; parent (m); creator
• sīdereus, -a, -um: starry; filled with stars < sīdus, -eris [3/n]: star
• vertex, verticis [3/m]: highest point; summit

[l.2] Nōminis ōrāmus venerātiō sānctificētur │ May the reverence of (your) name, we pray, be sanctified

A prayer by its nature is often expressing what someone wants to happen e.g. in English “May he rest in peace”. In Latin this is conveyed by the subjunctive, and the verse contains many examples of it: sānctificētur: May (the reverence of your name) be sanctified.

[l.3] In nōbīs ¦ Pater alte ¦  tuī: tranquillaque mundō │ Father on High, (bring) peaceful things of yours / your peace in us and in the world

pater alte: vocative case < altus, -a, -um: high

[l.4] Adveniat rēgnumque tuum lūx alma reclaudat │ May your kingdom come and the nourishing light disclose.

• almus, -a, -um: nourishing; kind
• reclaudō, -ere [3] = reclūdō, -ere [3]: reveal; disclose

Adveniat rēgnum … tuum: May your kingdom come; subjunctive

lūx alma reclaudat: may the nourishing light disclose

[l.5] In caelō ut terrīs fīat clāra voluntās │ In heaven as on earth (the lands) may your will be made / become clear

• voluntās, -tātis [3/f]: will; desire; free will; Eng. deriv. (via French) volunteer < La: voluntārius, -a, -um: willing

fīat clāra voluntās: May (your) will become clear; subjunctive

[l.6] Vītālisque hodiē sānctī substantia pānis │ And today the vital substance of the holy bread

• substantia, -ae [1/f]: material; contents; (here) substance

Note the word order:

(1) Vītālisque hodiē (2) sānctī (1) substantia (2) pānis

(1) (and) the vital substance (2) of the holy bread

Because of the case endings, Latin words – especially in verse – are often not written together; in poetry this is known as hyperbaton; a writer may do this to conform to the rhythm and / or to create a particular effect e.g. to emphasise certain words or ideas or, in this line (I suspect), to produce alliteration (the repetition of the same initial sound, usually a consonant) i.e. sānctī substantia (pānis)

[l.7] Prōveniat nōbīs; tua mox largītiō solvat │ May it come (forth) to us; may your generosity soon bestow it

• solvō, -ere [3]: (various meanings) loosen; release; pay; grant

[l.8] Innumera indulgēns errōris dēbita prāvī │ Indulging (i.e. being lenient towards / pardoning / forgiving) the countless debts of wicked error

• prāvus, -a, -um: wicked; crooked; depraved; improper etc.

Again, note the word order as an example of hyperbaton (see the note to l.6)

(1) Innumera ¦ indulgēns ¦  (2) errōris (1) dēbita prāvī

indulging ¦ the (1) countless debts (2) of wicked error

And again, you see the word order manipulated to create alliteration: Innumera ¦ indulgēns; the repetition of vowel and consonants extends throughout the line:

Innumera ¦ indulgēns ¦  (2) errōris (1) dēbita prāvī

For reference, there are three terms used to describe this poetic device:

1. Alliteration: repetition of initial sounds, usually consonants: silent seas swell slowly
2. Assonace: repetition of vowel sounds inside words: rise high in the bright sky
3. Consonance: repetition of consonants (not always initial): stroke of luck

However, they rarely appear in such strict divisions, but, like line 8 above, as a combination of devices. One example alone from our era shows how effective such poetic devices can be, an example of sheer genius:  excerpt from the “Witch’s Rap” in the Sondheim musical Into the Woods. The Baker’s father steals from the Witch’s garden; note how she growls, hisses, fumes and spits her words!

Greens greens and nothing but greens! / Parsley, peppers, cabbages, and celery, / Asparagus and  watercress / And fiddleferns and lettuce. / He said "Alright!" / But it wasn't quite. / Cause I caught him / In the autumn / In my garden one night!

You’re not often going to come across such relentless intensity, but it’s useful to know the terms when instances of such poetic devices occur.

[l.9] Et nōs haut aliter concēdere foenora nostrīs │ no differently than we grant debts to our own (people) [i.e. we do not treat others using different terms]; Compare ll8-9 with the standard version of the prayer (Church of Scotland): Forgive us our debts / as we forgive our debtors

The same lines from the Book of Cerne (9^th century): Forgive countless debts of our wicked errors, / no different than we pardon our debtors.

• aliter: otherwise; differently
• concēdō, -ere [3]: (here) allow; grant
• foenus = faenus, -oris [3/n]: (literally) interest on a loan
• haut = haud: not

[l.10] Tētrī saeva procul temptātiō daemonis absit │ May the savage temptation of the foul demon be far away

• tēter = taeter, -tra, -trum: foul; offensive; hideous

(1) Tētrī (2) saeva [procul] (2) temptātiō (1) daemonis

(2) the savage temptation (1) of the foul demon

[l.11] Aequē malīs tua nōs in lūcem dextera tollat │ Equally may your right hand raise us / lift us up from evils into the light

• dextera, -ae [1/f]: right hand
• tollō, -ere [3]: (here) raise; lift up

tua nōs in lūcem dextera: your right hand …

Topic / Level 4; animals at work (3); Varro’s nine part matrix

[6] Two nouns that are very similar to one another:

[i] pecus, pecoris [3/n]: collective noun referring to large domestic animals e.g. livestock; a herd of cattle etc.

The meaning may be extended to refer to any group of animals, including a flock of birds:

volātile pecus (Columella) | ‘winged / flying livestock’, i.e. flock of birds

[ii] pecus, pecudis [3/f]: a single head of cattle

Varro (Dē Rē Rūsticā) divides animal husbandry into a nine part matrix under three headings, each category comprising three specific types:

[1] smaller livestock: sheep, goats, pigs

[2] larger livestock: cattle / oxen; donkeys; horses

[3] animals – and people – not kept for direct profit but rather on account of the livestock e.g. dogs / shepherds to protect them) or derived from the livestock e.g. mules

est scientia pecoris parandī ac pāscendī | there is a knowledge of tending and feeding livestock 

ut frūctūs quam possint maximī capiantur ex eō  | ... so that the greatest profits are obtained from it..

Ea partēs habet novem, | It has nine divisions,

discrētās ter ternās, | separated into three groups of three,

ut sit ūna dē minōribus pecudibus | so that one is concerned with smaller livestock,

cuius genera tria ovēs, capra, sūs, | whose three kinds are the sheep, goat, and pig, 

altera dē pecore maiōre, | the other with larger livestock

in quō sunt item ad trēs speciēs nātūrā discrētī: | in which there are likewise three species divided by their nature:

bovēs, asinī, equī. | cattle, donkeys, and horses.

Tertia pars est in pecuāriā quae nōn parantur | The third part consists of those animals in cattle-raising which are not kept

ut ex iīs capiātur frūctus, |  so that profit may be obtained from them,

sed propter eam aut ex eā. | but [are kept] on account of it or as a result of it.

Sunt mūlī, canēs, pāstōrēs. | They are mules, dogs, and shepherds.

• caper, caprī [2/m]: goat
• capra, -ae [1/f]: she-goat
• canis, -is [3 m/f]: dog
• sūs, suis [3 m/f]: pig, swine
• ovis, -is [3/f]: sheep
• genus, generis [3/n]: kind, race, type
• species, -ēī [5/f]: appearance, form, kind, species

Level 4; literature; the poetry of Rome: introduction – you’ve just gotta love Lesbia

To give you an idea of the direction in which this set of posts is going, the ability to scan a Latin poem and to analyse its effects are requirements of the UK A Level (post-16) Latin examination.

https://www.youtube.com/watch?v=3z_QAPB3XeA

Vīvāmūs mĕă Lēsbĭ[a] ͜    ātqu[e] ͜    ămēmŭs

rūmōrēsquĕ sĕnūm sĕvērĭōrŭm

ōmnēs ūnĭŭs aēstĭmēmŭs āssĭs

dā mī bāsĭă mīllĕ deīndĕ cēntŭm

deīn mīll[e] ͜    āltĕră deīn sĕcūndă cēntŭm

Deīnd[e] ͜    ūsqu[e] ͜    āltĕră mīllĕ deīndĕ cēntŭm

deīn cūm mīlĭă mūltă fēcĕrīmŭs

cōntūrbābĭmŭs īllă nē scĭāmŭs

aūt nē quīs mălŭs īnvĭdērĕ pōssĭt

cūm tāntūm scĭăt ēssĕ bāsĭōrŭm

(Catullus V)

Let us live, my Lesbia, and let us love,

and let us judge all the rumors of the old men

to be worth just one penny!

Give me a thousand kisses, then another hundred,

then another thousand, then a second hundred,

then yet another thousand more, then another hundred.

Then, when we have made many thousands,

we will mix them all up so that we don't know,

and so that no one can be jealous of us when he finds out

how many kisses we have shared.

The composer, Farya Faraji, makes the following comment: “In my opinion, the best place to start for reconstructing their music is the poetry: Ancient Roman poetry used the interplay of long vs short vowel lengths and stress accent to create rythmic effects to the poetry, not unlike modern rap does.”

And that’s where we’re going to start – not with Catullus, but with a verse from the 4^th century. We’ll meet Catullus – and his fairweather friends – later. The following posts will look at the 4^th century Pater Noster of Juvencus (recited by Vincent). 

Level 3+ (review); correlatives [8] links

You have already seen a number of correlatives used in specific grammatical and syntactical constructions, notably [1] the subjunctive of purpose, and [2] under the heading of pronominal adjectives:

[1]

adeō … ut …

ita … ut …

sīc … ut …

tālis … ut …

tam … ut …

tantus … ut …

tot … ut …

2.05.26; Level 3+; Subjunctive [40] dependent uses [2] result [i]

https://adckl.blogspot.com/2026/02/220526-level-3-subjunctive-40-dependent.html

Tam fortis est ¦ ut hostēs vincat │ He is so brave ¦ that he conquers the enemy

Puerī tālia verba clāmant ¦ ut mātrēs audīre nōlint. │ The boys are shouting such words ¦ that the mothers refuse to listen.

Tot mīlitēs urbem oppugnant ¦ ut valdē timeāmus. │ So many soldiers are attacking the city ¦ that we are very afraid.

Tantus clāmor est ¦ ut cīvēs ōrātōrem nōn audiant. │ The noise is so great ¦ that the citizens do not hear the speaker.

Rōmam adeō amat ¦ ut semper hīc habitāre velit. │ He loves Rome to such an extent ¦ that he always wants [lit: would always want] to live here.

Mūrōs ita aedificant ¦ ut hostēs eōs dēlēre nōn possint. │ They build the walls in such a way ¦ that the enemies cannot destroy them.

Sīc pugnat vēnātor ¦ ut leō fugiat. │ The hunter fights in such a way ¦ that the lion flees.

[2]

alter … alter …

alius … alius …

[i] 31.07.25: Level 3; pronominal adjectives [8](2); alter … alter: the one … the other

https://adckl.blogspot.com/2025/05/310725-level-3-pronominal-adjectives-82.html

Alter lēgātus hostēs moenibus prohibēre, alter incolās convocāre coepit │ One commander began keeping the enemy from the walls, the other (began) summoning the citizens.

Cum Caesar in Galliam vēnit, alterīus factiōnis prīncipēs erant Aeduī, alterīus Sēquanī. │ When Caesar came to Gaul, the leaders of one faction were the Aedui, (Of) the other were the Sequani.

[ii] 03.08.25: Level 3; pronominal adjectives [9](2); alius … alius

https://adckl.blogspot.com/2025/05/030825-level-3-pronominal-adjectives-92.html

Alius hodiē venit, alius crās veniet. │ One comes today, another will come tomorrow.

Aliī gladiōs, aliī scūta portant │ some carry swords, others shields.

[iv] 06.08.25: Level 3; pronominal adjectives [10] alius … alius; alter … alter; taking care when translating

Alius ¦ aliud fēcerat. │ One man had done one thing, the other had done another thing.

In illō proeliō frāter cum frātre pugnāvit; alter alterīus gladiō interfectī sunt. │ In that battle brother fought with brother; (the) one was killed by the sword of (the) one, the other (by the sword) of the other.