1) E.1. ll. 1-2: Tityre, tu patulae recubans sub tegmine fagi / silvestrem tenui, Musam meditaris avena. (You, Tityrus, reclining under the cover of a spreading beech-tree, are practising a woodland melody on a slender pipe.)
2) E.1. l.5: Formosam resonare doces Amaryllida silvas. (You teach the woods to re-echo the charming words of Amaryllis.)
3) E.1. l. 6: Deus nobis haec otia fecit. (A god has made this leisure for me.)
4) E.1. l. 11: Non equidem invideo, miror magis. (Indeed, I am not envious; rather I am amazed.)
5) E. 1. l. 66: Et penitus toto divisos orbe Britannos. (And the Britons wholly separated from all the world.)
6) E. 2. l.60: Quem fugis, a, demens? Habitarunt di quoque silvas (From whom do you flee, O you madman? Gods have also lived in the woods.)
7) E. 3. l.93: Latet anguis in herba. (A snake lurks in the grass.)
8) E. 4. ll.1-2: Sicelides Musae, paulo maiora canamus! / Non omnis arbusta iuvant humilesque myricae. (Sicilian Muses, let us sing a somewhat loftier strain! The groves of trees and humble tamarisks do not please everyone.)
9) E. 4. ll.4-7: Ultima Cumaei venit iam carminis aetas; / magnus ab integro saeclorum nascitur ordo. Iam redit et virgo, redeunt Saturnia regna, iam nova progenies caelo dimittitur alto. (The last era of Cumaean song has now come; the great sequence of ages is born anew. Now the Virgin returns; and the reign of Saturn is renewed; now a new breed of men descends from heaven above.)
10) E. 4. ll.62-63: Incipe, parve puer: qui non risere parentes, / nec deus hunc mensa, dea nec dignata cubili est. (Begin, little boy: the man upon whom no parents have smiled, no god will deem him worthy of his table, nor will a goddess deem him worthy of her bed.)
11) E. 7. ll.4-5: .... Arcades ambo, / et cantare pares et respondere parati. (Arcadians both, and equally ready to sing or make a response.)
12) E. 8. l.43: Nunc scio quid sit Amor. (Now I know what Love is really like.)
13) E. 8. l.63: Non omnia possumus omnes. (We cannot all do everything.)
14) E. 9. ll.33-36: .... Sunt et mihi carmina, me quoque dicunt / vatem pastores; sed non ego credulus illis. / Nam neque adhuc Vario videar nc dicere Cinna / digna, sed argutos inter strepere anser olores. (I, too, have written songs; the shepherds, too, have called me a bard; but I do not believe them. For I still seem to utter words worthy neither of Varius nor of Cinna, but to cackle like a goose among melodious swans.)
15) E. 10. l.69: Omnia vincit Amor: et nos cedamus Amori. (Love conquers all: we, too, must yield to Love.)
B. FROM 'THE GEORGICS':
1) G.I. l.30: Ultima Thule. (Farthest Thule.)
2) G. I. l.145-146: .... Labor omnia vicit / improbus et duris urgens in rebus egestas. (Unrelenting toil and pinching want amid harsh circumstances conquered everything.)
3) G. I. ll.281-282: .... Imponere Pelio Ossam / scilicet, atque Ossae frondosum involvere Olympum. (Indeed, to pile Ossa on Pelion, and to roll leafy Olympus upon Ossa.)
4) G. II. ll. 458-460: O fortunatos nimium, sua si bona norint, / agricolas! Quibus ipsa procul discordibus armis / fundit humo facilem victum iustissima tellus. (O exceedingly fortunate farmers, if they did but know their own good fortune! On them, far from the clash of arms, the most just earth pours from her bosom their easy sustenance.)
5) G. II. l.490: Felix, qui potuit rerum cognoscere causas. (Happy is he who can understand the causes of things.)
6) G. II. l.493: Fortunatus et ille deos qui novit agrestis. (Happy too is he who has got to know the rustic deities.)
7) G. III. l.284: Sed fugit interea, fugit inreparabile tempus. (But meanwhile, time flies, and flies irretrievably.)
8) G. IV. l.167-168: ..... Agmine facto / ignavum fucos pecus a praesepibus arcent. (They form a column, and drive the idle drones from the hives.)
9) G. IV. l.176: Si parva licet componere magnis. (If one may compare small things with great ones.)
10) G. IV. l.208-209: At genus immortale manet, multosque per annos stat fortuna domus, et avi numerantur avorum. (Yet the stock remains immortal, and for many years the fortune of the house stands fast, and the grandfathers of grandfathers are counted.)
C. FROM 'THE AENEID':
1) A. I. ll.1-4: Arma virumque cano, Troiae qui primus ab oris / Italiam fato profugus Lavinaque venit / litora - multum ille et terris iactatus et alto / vi superum, saevae memorem Iunonis ob iram. (I sing of arms and of the man who, exiled by fate, first came from the shores of Troy to Italy and the Lavinian strand - much buffeted both on land and on the deep by the violence of the powers above, on account of the unforgetting anger of cruel Juno.)
2) A. I. l.33: Tantae molis erat Romanam condere gentem. (Such an effort was it to found the Roman race.)
3) A. I. l.42: Ipsa Iovis rapidum iaculata e nubibus ignem. (She herself hurled Jupiter's devouring fire from the clouds) N.B. Of the first five feet, all but the fourth are dactyls. The change of rhythm in the fourth foot effected by the spondee, and the harsh elision of iaculat' e is intended to emphasise the crash of Minerva's thunderbolt.
4) A. I. l.104-105: .... Tum prora avertit ad undas / dat latus; insequitur cumulo praereptus aquae mons. (Then the prow swings round and presents its side to the waves; there ensues in a heap a steep mountain of water.) N.B. By placing a monosyllable at the end of l. 105, Virgil departs from the normal "shave and a haircut' rhythm of the last two feet, and the jarring effect thus produced is designed to echo the crash of a very large wave against the side of a ship.
5) A. I. l.150: Furor arma ministrat. (Fury supplies the weapons.)
4) A. I. l.104-105: .... Tum prora avertit ad undas / dat latus; insequitur cumulo praereptus aquae mons. (Then the prow swings round and presents its side to the waves; there ensues in a heap a steep mountain of water.) N.B. By placing a monosyllable at the end of l. 105, Virgil departs from the normal "shave and a haircut' rhythm of the last two feet, and the jarring effect thus produced is designed to echo the crash of a very large wave against the side of a ship.
5) A. I. l.150: Furor arma ministrat. (Fury supplies the weapons.)
6) A. I. l.188: Fidus quae tela gerebat Achates. (The weapons which faithful Achates bore.)
7) A. I. l.199: O passi graviora, dabit deus his quoque finem. (O you who have endured worse things, God will grant an end to these things as well.)
8) A. I. l.203: ... Forsan et haec olim meminisse iuvabit. (Perhaps it will one day be pleasing to remember these things too.)
9) A. I. l.207: Durate, et vosmet rebus servate secundis. (Endure, and preserve yourself for better things.)
10) A. I. l.278-279: His ego nec metas rerum nec tempora pono: / imperium sine fine dedi.... (To these people, I fix neither bounds nor periods of time to their good fortunes: I have given them power without end.)
11) A. I. l.405: Vera incessu patuit dea. (By her gait, she was revealed as a true goddess.)
11) A. I. l.405: Vera incessu patuit dea. (By her gait, she was revealed as a true goddess.)
12) A. I. l.461-462: .... Sunt hic etiam sua praemia laudi; / sunt lacrimae rerum et mentem mortalia tangunt. (Here too virtue has its own rewards; there are tears for things and mortal things touch the heart.)
13) A. I. l.604: Mens sibi conscia recti. (A mind conscious of its own rectitude.)
14) A. I. l.630: Non ignara malis miseris succurrere disco. (Not unaware of misfortunes, I am learning to succour those in distress.)
15) A. II. ll.1-2: Conticuere omnes intentique ora tendebant. Inde toro pater Aeneas sic orsus ab alto. (They all fell silent and fixed their gaze intently upon him. From his high couch father Aeneas began to speak as follows.)
16) A. II. ll.5-6: .... Quaeque ipse miserrima vidi / et quorum pars magna fui. (And of the most pitiable things, which I myself saw, and in which I played a great part ...)
17) A. II. l.49: Quidquid id est, timeo Danaos et dona ferentis. (Whatever it is, I fear the Greeks, even when they are bringing gifts.)
18) A. II. ll. 61-62: ....In utrumque paratus, seu versare dolos, seu certae occumbere morti. (Ready for either outcome, whether to effect his trickery or to succumb to certain death.)
19) A. II. ll.65-66: .... crimine ab uno / disce omnes. (From one piece of villainy learn about all of them.)
20) A. II. l.204: Horresco referens. (I shudder to relate.)
21) A. II. ll.209-211: Fit sonitus spumante salo: iamque arva tenebant, / ardentisque oculos suffecti sanguine et igni / sibila lambebant linguis vibrantibus ora. (A roar comes from the foaming surf: and now they have reached the land, and, with their blazing eyes suffused with blood and fire, they licked their hissing mouths with their flickering tongues.) N.B. how Virgil uses alliteration as well as rhythm
to catch the sensation of the slithering and sibilant sea-snakes.
22) A.II. l.255: .... Tacitae per amica silentis lunae. (Through the friendly silence of the quiet moon.)
23) A. II. ll.274-275: .... Quantum mutatus ab illo / Hectore qui redit exuvias indutus Achilli. (How changed from that Hector who had returned clad in the spoils of Achilles.)
24) A. II. ll.325-326: .... Fuimus Troes, fuit Ilium et ingens / gloria Teucrorum ... (We are Trojans no more; Ilium, and the great glory of the Teucrians, has passed.)
25) A. II. l.354: Una salus victis - nullam sperare salutem. (There is but one safe thing for the vanquished - not to hope for safety.)
26) A. II. l.428: Dis aliter visum. (The Gods thought otherwise.)
27) A. II. ll. 521-522: Non tali auxilio, nec defensoribus istis / tempus eget. (The hour does not call for such succour or such defenders as you.)
28) A. II. l.680: Cum subitum dictuque oritur mirabile monstrum. (When, and it is marvellous to relate, a sudden miracle occurs.)
29) A. III. ll. 56-57: .... Quid non mortalia pectora cogis, / auri sacra fames? (To what do you not compel human hearts, O accursed hunger for gold?)
30) A. III. l.658: Monstrum horrendum, informe, ingens, cui lumen ademptum. (A dreadful monster, shapeless, huge, and bereft of sight.)
31) A. IV. l.23: Agnosco veteris vestigia flammae. (I recognise the vestiges of an old flame.)
32) A. IV. l.31: O luce magis dilecta sorori. (O you more dear to your sister than the light of life.)
33) A. IV. l.174: Fama, malum qua non aliud velocius ullum. (Rumour, which goes more swiftly than any other evil.)
34) A. IV. l.296: Quis fallere possit amantem? (Who can deceive a lover?)
35) A. IV. ll.569-570: .... Varium et mutabile semper / femina ... (A woman is ever fickle and changeable.)
36) A. IV. ll.335-336: .... Nec me meminisse pigebit Elissae, / dum memor ipse mei, dum spiritus hos regit artus. (Nor will the thought of Dido ever displease me, while I myself have memory and while my breath rules these limbs.)
37) A. V. l.231: Hos successos alit: possunt, quia posse videntur. (Success nourishes them; because they seem to be able, they are able. )
38) A. VI. ll.86-87: Bella, horrida bella, / et Thybrim multi spumantem sanguine cerno. (I see wars, dreadful wars, and the Tiber foaming with much blood.)
39) A. VI. ll.126-129: .... Facilis descensus Averno: / noctes atque dies pater atri ianua Ditis; / sed revocare gradum superasque evadere ad auras, / hoc opus, hoc labor est ...(The descent to Avernus is easy: the door of black Dis stands open night and day; but to retrace your steps and escape to the upper air, that is the task, that is the toil.)
40) A. VI. l.258: Procul o, procul este, profani! (Away with you, O away with you, you unhallowed ones!)
41) A. VI. ll.295-297: Hinc via Tartarei quae fert Acherontis ad undas. / Turbidus hic caeno vastaque voragine gurges / aestuat atque omnem Cocyto eructat harenam. (From here is the way which leads to the waters of Tartarean Acheron. Here a murky whirlpool seethes in mud and huge abysses, and belches forth all its sludge into the Cocytus.)
42) A. VI. l.298-300: Portitor has horrendus aquas et flumina servat / terribili squalore Charon: cui plurima mento / canities inculta iacet; stant lumina flamma. (A fearful ferryman guards these waters and rivers, Charon, terrible in his filth; on his chin an abundant grey beard grows untrimmed; his eyes stand aflame.)
43) A. VI. l.314: Tendebantque manus ripae ulterioris amore. (They stretched out their hands in yearning for the farther bank.
44) A. VI. ll.726-727: Spiritus intus alit: totamque infusa per artus / mens agitat molem, et magno se corpore miscet. (The spirit within nourishes, and the mind diffused though all their limbs, keeps the whole mass moving and mingles with that great frame.)
45) A.VI. ll.851-853: Tu regere imperio populos, Romane, memento - / hae tibi erunt artes, - pascisque imponere morem, / parcere subiectis, et debellare superbos. (You, Roman, remember to rule with authority the peoples of the earth, - these will be your skills: to impose the tradition of peace, to spare those who have submitted, and to crush the proud in war.)
46) A, VI. ll.893-896: Sunt geminae Somni portae, quarum altera fertur / cornea, qua veris facilis datur exitus umbris, / altera condenti perfecta nitens elephanto, / sed falsa ad caelum mittunt insomnia manes. (There are two gates of Sleep, of which one is said to be of horn, through which an easy exit is given to true spirits, and the other is made of shining white ivory, but through it the shades send false images up to the sky.)
47) A. VII. ll.136-138: ... Geniumque loci primam deorum / Tellurem nymphasque et adhuc ignota precatur / flumina ... (He prays to the genius of the place and to Earth, the oldest of the deities, and to the Nymphs, and to the rivers which are still unknown to them.)
48) A. VII. l.312: Flectere si nequeo superos, Acheronta movebo. (If I cannot sway the powers above, I shall arouse the powers of Acheron.)
49) A. VIII. l.224: Pedibus timor addidit alas. (Fear lent wings to his feet.)
50) A. VIII. l.369: Nox ruit et fuscis tellurem amplectitur alas. (Night falls and clasps the earth in her dusky wings.)
51) A. VIII. ll.452-453: Illi inter sese multa vi bracchia tollunt / in numerum, versantque tenaci forcipe massam. (One after another, they raise their arms in rhythm with mighty force, and turn the metal with gripping tongs.) N.B. l. 452 is a famous example of rhythmical imitation or onomatopoeia: it is made up entirely of spondees, other than the usual dactyl in the fifth foot, and there is a conflict between word accent and ictus in the second, third and fourth feet; the intention is to mimic the heavy and difficult movement of the blacksmiths striking the anvil in turn. By contrast, in l. 453, the coincidence of word accent and ictus and the lack of a main caesura in both the third or the fourth foot, has the effect of easing the rhythm significantly.
52) A. VIII. l.560: O mihi praeteritos referat si Iuppiter annos! (O, if only Jupiter would restore to me the years that are past!)
53) A. VIII. ll.595-596: It clamor, et agmine facto / quadrupedante putrem sonitu quatit ungula campum. ( A shout goes up, and, after a column has been formed, a hoof shakes the crumbling plain with the sound of galloping). N.B. l. 596 is a famous example of imitative rhythm or onomatopoeia, where the successive dactyls in the first five feet and the harsh consonants convey the sound of galloping.
54) A. IX. l.427: Me, me, adsum qui feci, in me convertite ferrum. (Here I am, I, who did the deed; turn your sword on me.)
55) A. IX. l.641: Macte nova virtute, puer, sic itur ad astra. (May you be blessed in your youthful valour, my boy; thus one goes to the stars.)
56) A. X. l.284: Audentis fortuna iuvat. (Fortune favours the brave.)
57) A. XI. l.283: Experto credite. (Trust one who has experienced it.)
58) A. XI. l.875: Quadripedumque putrem cursu quatit ungula campum. (The hoof of their horses shakes the crumbling plain in their gallop.) N.B. This line is almost identical to Book VIII. l.596, and thus follows it in mimicking the sound of galloping horses.
59) A. XII. l.950-951: ... Ast illi solvuntur frigore membra, / vitaque cum gemitu fugit indignata sub umbris. (But his limbs went slack in the chill of death, and, with a groan, his soul flees querulously to the shades beneath.)
19) A. II. ll.65-66: .... crimine ab uno / disce omnes. (From one piece of villainy learn about all of them.)
20) A. II. l.204: Horresco referens. (I shudder to relate.)
21) A. II. ll.209-211: Fit sonitus spumante salo: iamque arva tenebant, / ardentisque oculos suffecti sanguine et igni / sibila lambebant linguis vibrantibus ora. (A roar comes from the foaming surf: and now they have reached the land, and, with their blazing eyes suffused with blood and fire, they licked their hissing mouths with their flickering tongues.) N.B. how Virgil uses alliteration as well as rhythm
to catch the sensation of the slithering and sibilant sea-snakes.
22) A.II. l.255: .... Tacitae per amica silentis lunae. (Through the friendly silence of the quiet moon.)
23) A. II. ll.274-275: .... Quantum mutatus ab illo / Hectore qui redit exuvias indutus Achilli. (How changed from that Hector who had returned clad in the spoils of Achilles.)
24) A. II. ll.325-326: .... Fuimus Troes, fuit Ilium et ingens / gloria Teucrorum ... (We are Trojans no more; Ilium, and the great glory of the Teucrians, has passed.)
25) A. II. l.354: Una salus victis - nullam sperare salutem. (There is but one safe thing for the vanquished - not to hope for safety.)
26) A. II. l.428: Dis aliter visum. (The Gods thought otherwise.)
27) A. II. ll. 521-522: Non tali auxilio, nec defensoribus istis / tempus eget. (The hour does not call for such succour or such defenders as you.)
28) A. II. l.680: Cum subitum dictuque oritur mirabile monstrum. (When, and it is marvellous to relate, a sudden miracle occurs.)
29) A. III. ll. 56-57: .... Quid non mortalia pectora cogis, / auri sacra fames? (To what do you not compel human hearts, O accursed hunger for gold?)
30) A. III. l.658: Monstrum horrendum, informe, ingens, cui lumen ademptum. (A dreadful monster, shapeless, huge, and bereft of sight.)
31) A. IV. l.23: Agnosco veteris vestigia flammae. (I recognise the vestiges of an old flame.)
32) A. IV. l.31: O luce magis dilecta sorori. (O you more dear to your sister than the light of life.)
33) A. IV. l.174: Fama, malum qua non aliud velocius ullum. (Rumour, which goes more swiftly than any other evil.)
34) A. IV. l.296: Quis fallere possit amantem? (Who can deceive a lover?)
35) A. IV. ll.569-570: .... Varium et mutabile semper / femina ... (A woman is ever fickle and changeable.)
36) A. IV. ll.335-336: .... Nec me meminisse pigebit Elissae, / dum memor ipse mei, dum spiritus hos regit artus. (Nor will the thought of Dido ever displease me, while I myself have memory and while my breath rules these limbs.)
37) A. V. l.231: Hos successos alit: possunt, quia posse videntur. (Success nourishes them; because they seem to be able, they are able. )
38) A. VI. ll.86-87: Bella, horrida bella, / et Thybrim multi spumantem sanguine cerno. (I see wars, dreadful wars, and the Tiber foaming with much blood.)
39) A. VI. ll.126-129: .... Facilis descensus Averno: / noctes atque dies pater atri ianua Ditis; / sed revocare gradum superasque evadere ad auras, / hoc opus, hoc labor est ...(The descent to Avernus is easy: the door of black Dis stands open night and day; but to retrace your steps and escape to the upper air, that is the task, that is the toil.)
40) A. VI. l.258: Procul o, procul este, profani! (Away with you, O away with you, you unhallowed ones!)
41) A. VI. ll.295-297: Hinc via Tartarei quae fert Acherontis ad undas. / Turbidus hic caeno vastaque voragine gurges / aestuat atque omnem Cocyto eructat harenam. (From here is the way which leads to the waters of Tartarean Acheron. Here a murky whirlpool seethes in mud and huge abysses, and belches forth all its sludge into the Cocytus.)
42) A. VI. l.298-300: Portitor has horrendus aquas et flumina servat / terribili squalore Charon: cui plurima mento / canities inculta iacet; stant lumina flamma. (A fearful ferryman guards these waters and rivers, Charon, terrible in his filth; on his chin an abundant grey beard grows untrimmed; his eyes stand aflame.)
43) A. VI. l.314: Tendebantque manus ripae ulterioris amore. (They stretched out their hands in yearning for the farther bank.
44) A. VI. ll.726-727: Spiritus intus alit: totamque infusa per artus / mens agitat molem, et magno se corpore miscet. (The spirit within nourishes, and the mind diffused though all their limbs, keeps the whole mass moving and mingles with that great frame.)
45) A.VI. ll.851-853: Tu regere imperio populos, Romane, memento - / hae tibi erunt artes, - pascisque imponere morem, / parcere subiectis, et debellare superbos. (You, Roman, remember to rule with authority the peoples of the earth, - these will be your skills: to impose the tradition of peace, to spare those who have submitted, and to crush the proud in war.)
46) A, VI. ll.893-896: Sunt geminae Somni portae, quarum altera fertur / cornea, qua veris facilis datur exitus umbris, / altera condenti perfecta nitens elephanto, / sed falsa ad caelum mittunt insomnia manes. (There are two gates of Sleep, of which one is said to be of horn, through which an easy exit is given to true spirits, and the other is made of shining white ivory, but through it the shades send false images up to the sky.)
47) A. VII. ll.136-138: ... Geniumque loci primam deorum / Tellurem nymphasque et adhuc ignota precatur / flumina ... (He prays to the genius of the place and to Earth, the oldest of the deities, and to the Nymphs, and to the rivers which are still unknown to them.)
48) A. VII. l.312: Flectere si nequeo superos, Acheronta movebo. (If I cannot sway the powers above, I shall arouse the powers of Acheron.)
49) A. VIII. l.224: Pedibus timor addidit alas. (Fear lent wings to his feet.)
50) A. VIII. l.369: Nox ruit et fuscis tellurem amplectitur alas. (Night falls and clasps the earth in her dusky wings.)
51) A. VIII. ll.452-453: Illi inter sese multa vi bracchia tollunt / in numerum, versantque tenaci forcipe massam. (One after another, they raise their arms in rhythm with mighty force, and turn the metal with gripping tongs.) N.B. l. 452 is a famous example of rhythmical imitation or onomatopoeia: it is made up entirely of spondees, other than the usual dactyl in the fifth foot, and there is a conflict between word accent and ictus in the second, third and fourth feet; the intention is to mimic the heavy and difficult movement of the blacksmiths striking the anvil in turn. By contrast, in l. 453, the coincidence of word accent and ictus and the lack of a main caesura in both the third or the fourth foot, has the effect of easing the rhythm significantly.
52) A. VIII. l.560: O mihi praeteritos referat si Iuppiter annos! (O, if only Jupiter would restore to me the years that are past!)
53) A. VIII. ll.595-596: It clamor, et agmine facto / quadrupedante putrem sonitu quatit ungula campum. ( A shout goes up, and, after a column has been formed, a hoof shakes the crumbling plain with the sound of galloping). N.B. l. 596 is a famous example of imitative rhythm or onomatopoeia, where the successive dactyls in the first five feet and the harsh consonants convey the sound of galloping.
54) A. IX. l.427: Me, me, adsum qui feci, in me convertite ferrum. (Here I am, I, who did the deed; turn your sword on me.)
55) A. IX. l.641: Macte nova virtute, puer, sic itur ad astra. (May you be blessed in your youthful valour, my boy; thus one goes to the stars.)
56) A. X. l.284: Audentis fortuna iuvat. (Fortune favours the brave.)
57) A. XI. l.283: Experto credite. (Trust one who has experienced it.)
58) A. XI. l.875: Quadripedumque putrem cursu quatit ungula campum. (The hoof of their horses shakes the crumbling plain in their gallop.) N.B. This line is almost identical to Book VIII. l.596, and thus follows it in mimicking the sound of galloping horses.
59) A. XII. l.950-951: ... Ast illi solvuntur frigore membra, / vitaque cum gemitu fugit indignata sub umbris. (But his limbs went slack in the chill of death, and, with a groan, his soul flees querulously to the shades beneath.)
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