OFFERRE e morti, ad mortem, in difcrimen, to expofe, to pre

fent.

PERFERRE legem, to carry through, to pass it.

PRÆFERRE facem ei, to carry before; falutem reipublicæ fuis commodis, et anteferre, anteponere, to prefer. Prælatus equo, riding before.

PROFERRE imperium, to enlarge; in medium, in apertum, in lucem, to publish; nuptias, diem, to delay.

REFERRE alicui, to answer; fe v pedem, to retreat; gratiam alicui, to make a requital; par pari, Ter. victoriam ab, v. ex aliquo, et reportare, to gain; inftitutum, to renew; judicia ad equeftrem ordinem, to restore to the Equites the right of judging; aliquid, de aliqua re, ad fenatum, ad confilium, ad fapientes, ad populum, to Jay before; aliquid in tabulam, codicem, commentarium, &c. to nark down; aliquid acceptum alicui, et in acceptum, to acknowledge one's felf indebted; pecunias acceptas et expenfas, nomina v. fummas in codicem accepti et expenfi, to mark down accounts; alienos mores ad fuos, to judge of by; in v. inter ærarios, to reduce to the lowest clafs; in numerum deorum, in v. inter deos, et reponere, to rank among; pugnas, res geftas, to relate; patrem ore, to resemble; amiffos colores, to regain, Horat.

TRANSFERRE rationes in tabulas, to poft one's books, to ftate accounts; in Latinam linguam, to tranflate; verba, to ufe metaphorically culpam in eum et rejicere, to lay the blame on him.

II. FIGURES OF SYNTAX.

A Figure is a manner of speaking different from the ordinary and plain way, ufed for the fake of beauty or force.

The figures of Syntax or Conftruction may be reduced to these three, Ellipfis, Pleonafm, and Hyperbaton.

The two firft refpect the conftituent parts of a fentence; the laft refpects only the arrangement of the

words.

I. ELLIPSIS.

ELLIPSIS is when one or more words are wanting to complete the sense; as, Aiunt, ferunt, dicunt, perhibent, fcil. homines: Dic mihi, Damæta, cujum pecus; that is, Dic (tu) mihi, Damæta, (cum bominem) cujum pecus (eft hoc pecus.) Aberant bidui, fcil. iter vel itinere. Decies feftertium, feil. centena millia. Quid multa? feil.

dicam. Antiquum obtines, fcil. morem vel inftitutum, Plaut. Hodie in ludum occæpi ire literarium, ternas jam fcio, fcil. literas, i, c. AMO, Id. Triduo abs te nullas acceperam, fcil. literas, i. e. epiftolam, Cic. Brevi dicam, fcil. fermone: So Complecti, refpondere, &c. brevi. Dii meliora, fc. faciant: Rhodum volo, inde Athenas, fc. ire, Id. Bellicum, vel clafficum canere, fc. fignum, Liv. Civicâ donatus, fc. coronâ; So obfidionalem, muralem adeptus, &c. 13 Epiftola librarii manu eft fe. fcripta, Cic. So in English, "The twelve," i. e. apoftles; "The elect," i. e. perfons.

When a conjunction is to be fupplied, it is called ASYNDETON; as, Deus optimus maximus, fcil. et; Sartum tectum confervare, i. e. fartum et tectum; So Abiit, exceffit, evafit, erupit, Cic. Ferte citi fammas, date vela, impellite remos, Virg. Velis nolis, fcil. feu.

To this figure may be reduced moft of thofe irregularities in Syntax, as they are called, which are variously claffed by grammarians, under the names of ENNALAGE, i. e. the changing of words and and their accidents, or the putting of one word for another; ANTIPTOSIS, i. e. the putting of one cafe for another; HELLENISM OF GRECISM, i. c. imitating the construction of the Greeks; SYNESIS, i. e. referring the construction, not to the gender or number of the word, but to the fenfe, &c. thus, Samnitium duo millia cæfi, is Duo millia (bominum) Samnitium (fuerunt bomines) cæli, Liv. So Monftrum quæ, fc. mulier, Hor. Scelus qui, fc. homo, Ter. Omnia Mercurio fimilis, sc. secundum, Virg. Missi magnis de rebus uterque, legati; i. e. Miffi legati (et) uterque (legatus miffus) de magnia rebus, Horat. Servitia repudiabat, cujus, fc. fervitii, Sall. Cat. 51. Familia noftra, quorum, &c. fc. hominum, Sall. Concurfus populi, mirantium, Liv. Illum ut vivat, optant, for ut ille vivat, Ter. Populum late regem, for regnantem, Virg. Expediti militum, for milites; Claffis ftabat Rhegii, for ad Rhegium, Liv. Latium Capuaque agro multati, fc. homines, Id. Utraque formofæ, fc. mulieres, Ovid. Aperite aliquis oftium, Ter. Senfit delapfus, for delapfum, fc. fe effe, Virg.

When a writer frequently uses the Ellipfis, his style is faid to be elliptical or concise.

2. PLEONASM.

PLEONASM is when a word more is added than is abfolutely neceffary to express the sense; as, Video oculis, I fee with my eyes; Sic ore locuta eft: adeft præfens: Nufquam gentium; vivere vitam fervire fervitutem; Quid mihi Celfus agit? Fac me ut fciam, &c. Suo fibi gladio hunc jugulo, Ter. Suo fibi fucco vivunt, Plaut:

When a conjunction is ufed apparently redundant, it is called POLYSYNDETON; as, Una Eurufque Notufque ruunt, Virg.

When that which is in reality one, is fo expreffed as if there were two, it is called HENDIADYS; as, Pateris libamus et auro, for aureis pateris, Virg.

When feveral words are ufed to exprefs one thing, it is called PERIPHRASIS; as, Urbs Troja, for Troja, Virg. Res voluptatum, for voluptates, Plaut. Ufus purpurarum, for purpura; Genus pifcium, for pifces, Hor.

3. HYPERBATON.

HYPERBATON is the tranfgreffion of that order or arrangement of words which is commonly used in any language. It is chiefly to be met with among the poets. The various forts into which it is divided, are, Anastrophe, Hysteron protěron, Hypalläge, Synchěfis, Tmefis, and Parenthesis.

1. ANASTROPHE is the inverfion of words, or the placing of that word laft which fhould be firft; as, Italiam contra; His accenfa fuper; Spemque metumque inter dubii; for contra Italiam, fuper his, inter fpem, &c. Virg. Terram fol facit are, for arefacit, Lucret.

2. HYSTERON PROTERON is when that is put in the former part of the fentence, which, according to the fense, should be in the latter; as, Valet atque vivit, for vivit atque valet, Ter.

3. HYPALLAGE is the exchanging of cafes; as, Dare claffibus auftros, for dare claffes auftris, Virg.

4. SYNCHESIS is a confused and intricate arrangement of words; 25, Saxa vocant Itali mediis quæ in Auctibus aras; for Quæ faxa in mediis fluctibus Itali vocant aras, Virg.

5. TMESIS is the divifion of a compound word, and the interpofing of other words betwixt its parts; as, Septem fubjecta trioni gens, for Septentrioni, Virg. Quæ meo cunque animo libitum eft facere, for quæcunque, Ter.

6. PARENTHESIS is the inferting of a member into the body of a fentence, which is neither neceffary to the fenfe, nor at all affects the construction; as, Tityre, dum redeo, (brevis eft via) paste capellas, Virg.

III. ANALYSIS AND TRANSLATION.

The difficulty of tranflating either from English into Latin, or from Latin into English, arifes in a great measure from the different arrangement of words which takes place in the two languages.

In Latin the various terminations of nouns, and the inflection of adjectives and verbs, point out the relation of one word to another, in whatever order they are placed. But in English the agree ment and government of words can only be determined from the particular part of the fentence in which they ftand. Thus, in Latin, we can either fay, Alexander vicit Darium, or Darium vicit Alexander, or Alexander Darium vicit, or Darium Alexander vicit; and in each of these the sense is equally obvious: but in English we can only fay, Alexander conquered Darius. This variety of arrangement in Latin gives it a great advantage over the English, not only in point of energy and vivacity of expreffion, but also in point of harmony. We fometimes indeed, for the fake of variety and force, imitate in English the inversion of words which takes place in Latin; as, Him the Eternal hurl'd, Milton. Whom ye ignorantby worship, him declare I unto you. But this is chiefly to be ufed in poetry.

With regard to the proper order of words to be obferved in translating from English into Latin, the only certain rule which can be given, is to imitate the CLASSICS.

The order of words in fentences is faid to be either fimple or artificial; or, as it is otherwife expreffed, either natural or oratorial. The Simple or Natural order is, when the words of a sentence are placed one after another, according to the natural order of fyntax.

Artificial or Oratorial order is when words are so arranged, as to render them most striking, or most agreeable to the car.

All Latin writers ufe an arrangement of words, which appears to us more or less artificial, because different from our own, although to them it was as natural as ours is to us. In order therefore to render any Latin author into English, we must first reduce the words in Latin to the order of English, which is called the Analyfis or Refolution of fentences. It is only practice that can teach one to do this with readiness. However to a beginner the obfervation of the following rule may be of advantage.

Take firft the words which ferve to introduce the fentence, or fhew its dependence on what went before; next, the nominative, together with the words which it agrees with or governs; then, the verb and adverbs joined with it; and lafly, the cafes which the verb governs, together with the circumstances fubjoined, to the end of the fentence: fupplying through the whole the words which are understood.

If the fentence is compound, it must be resolved into the several fentences of which it is made up; as,

Vale igitur, mi Cicero, tibique perfuade effe te quidem mihi cariffimum; fed multo fore cariorem, & talibus monumentis præcep tifque lætabere, Cic. Off. lib. 3.

Farewell then, my Cicero, and affure yourself that you are indeed very dear unto me; but shall be much dearer, if you fhall take delight in fuch writings and inftructions.

This compound sentence may be refolved into these five fimple fentences: I. Igitur, mi (fili) Cicero, (tu) vale, 2. et (tu) perfuade tibi (ipfi) te effe quidem (filium) cariffimum mihi: 3. fed (tu perfuade bi ipfi te) fore (filium) cariorem (mihi in) multo (negotio) 4. fi (tu) lætabere talibus monumentis, 5. et (si tu lætabere talibus) præceptis.

1. Fare (you) well then, my (fon) Cicero, 2. and affure (you) yourself that you are indeed (a fon) very dear to me; 3. but (ffure you yourself that you) fhall be (a fon) much dearer (to me) 4. if you Thall take delight in fuch writings, 5. and (if you fball take delight in fuch) inftructions.

When a learner first begins to translate from the Latin, he should keep as ftrictly to the literal meaning of the words as the different idioms of the two languages will permit. But after he has made farther progress, something more will be requifite. He should then be accustomed, as much as poffible, to transfufe the beauties of an author, from the one language into the other. For this purpose it will be neceffary that he be acquainted, not only with the idioms of the two languages, but also with the different kinds of style adapted to different forts of compofition, and to different fubjects; together with the various turns of thought and expreffion which writers employ, or what are called the figures of words and of thought; or the Figures of Rhetoric.

The QUANTITY of SYLLABLES.

The quantity of a fyllable is the space of time taken up in proBouncing it.

That part of grammar which treats of the quantity and accent of Syllables, and of the meafares of Verfe, is called PROSODY. Syllables, with respect to their quantity, are either long or foort. A long fyllable in pronouncing requires double the time of a fhort; as, tendere.

Some fyllables are common: that is, fometimes long, and sometimes fhort; as the fecond fyllable in volueris.

A vowel is faid to be long or short by nature, which is always fo by custom, or by the use of the poets.

In polyfyllables or long words, the last syllable except one is called the Penultima, or, by contraction, the Penult, and the last fyllable except two, the Antepenultima.

When the quantity of a fyllable is not fixed by fome particular rule, it is said to be long or short by authority, that is, according to the ufage of the poets. Thus le in lego is faid to be short by atthority, because it is always made short by the Latin poets.