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THE NEW YORK
... LATIN | EAFLET
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OL WI BROOKLYN, NEW YORK, Nov. 20, 1905.
No 132
-> ----------- ----------
IMPORTANT NOTICE *
SIXTEENTH MEETING OF THE LATIN CLUB—DEC 2, 1905
Professor Benjamin L D’Ooge of Tiichigan State
Normal College will address the club on the sub-
ject, “Essentials and Non-Essentials” at the Hotel
Tlarlborough, Thirty-fifth street, and Broadway,
New York City. Be sure to notify “THE LATIN
LEAFLET’’, 1050 Bergen street, Brooklyn, by
postal card, if you intend to be present. ATTEND
TO THIS. THATTER NOW.
TO O U R SU BSC R I BERS
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York. Checks on out-of-town banks cost us 10c
each to collect.
ELISION IN LATIN AND GREEK
In Four Parts—Part I
BY H W MAGOUN
Elision in Latin has long been a crux. Con-
cerning it, two well-known theories have been
in vogue. According to one, certain syllables
were suppressed in reading Latin poetry. Ac-
cording to the other, they were “half-pro-
nounced ”, or “slurred ”, so as to unite with
the following syllables and take no appreciable
time. Each of these attempted solutions of this
vexed question shows the earmarks of a me-
chanical theory, invented to get rid of a diffi-
culty; and no one claims that the result is satis-
factory, whichever horn of the dilemma is
taken. There is, in fact, little in either theory
to commend it to an intelligent scholar, since
each is patently an attempt to meet a peculiarity
of Latin verse in an artificial way. The inade-
quacy of each has already been shown in these
pages, Vol V No 125 (May 8, 1905), and so
thoroughly has the work been done that no
further word is needed.
That there is an elision question in Latin, is
clearly evident. It will be a surprise to 1many,
however, to learn that there is also an elision
question in Greek. In this language, the nature
of elision has been regarded for many years as
settled; and yet a merely casual examination
reveals certain curious anomalies and some ap-
parent, if not real, contradictions. Elision in
of a final short vowel before a word beginning
with a vowel, while Apocope is defined as the
“cutting off " of a similar vowel before a word
beginning with a consonant. --
If each is merely the omission of a final
short vowel, why should there be any differ-
ence in the method of indicating the loss? Does
the simple fact that the latter is confined to
poetry have any real bearing on the case?
Does the nature of the sound employed at the
beginning of the following word furnish, in
itself, any grounds for using an apostrophe in
the One case, but not in the other ? Would not
the fact that the vowel has been dropped, be
quite as plain without the apostrophe before a
consonant? In reality, would it not be plainer?
If there is any reason why an apostrophe
should be used to mark the omission of a vowel
in elision, but not in apocope, what is it?
Again, why does apocope cause a recessive
accent in dissyllabic oxytone prepositions
which suffer the loss of a final vowel, while
clision produces no such change? Why, for
example, should apocope give kär, but elision.
Kat'? What is the latter in accent? Does it
take on a proclitic nature, or—what amounts
to the same thing—is it accentless? And if it
becomes, in effect, proclitic, what is to be done
with elided enclitics? Does the yá of Homer,
Od IX 288, dAA’ 6 y' dwałęas, throw its accent
back, but its y- forward? In other words, is
its accent enclitic, but its y-proclitic, in char-
acter? And what of the trot'’am’ of Hom I/
VIII IOS, oùs trot' 'ar' Alveſay? How, further-
more, is the second A of 3AA', in the preceding
example, to be attached to the rough breath-
ing of the following 62 It is clear that both
A's should be sounded, and it has been cus-
tomary to unite, the consonant preceding an
elided vowel with the following word in pro-
nunciation. Are the four words, then, in each
instance, to be taken as if they formed a single
Word? Were they pronounced respectively as
al-lhó-ga-ma-i-tas and hotº-spo-ta-pai-nei-an?
And, if the difficulty of the -ih- is met in this
Way, what shall be done with two aspirations
When they are brought together by a case of
elision? For example, in oë6' irápov, Hom Od
IX 278, have we otithetárón, oùthhetárön, or
oùth hetárón, with a break between the two 2
Greak is regularly defined as the “ dropping ”
mº-Cº 1431za—4–


2 THE LATIN LEAFLET
What shall be done with vnov 6' àpa, Od X
123, or with ºvá 6’ iortúa, Il I 48o? Does the
accent of the enclitic word go back, but the
T-(6) forward, to be slurred onto the following
word 2 Is the initial rough breathing lost, in
each case, in the process? And, if it is not
excluded by slurring, how is it sounded ?
|Does “the horse ’’, as pronounced in colloquial
ſinglish, throw any light on the question ?
Again, what shall be done with such a Series
as Oi 6’ eis 3pxmortúv re, Od I 421 P. Have we
here but a single accent, with an enclitic word
and, in effect, three proclitic ones, pronounced
as if there were but two 2 Is the whole com-
bination, in this instance, to be pronounced as
a single word ž
|Docs the 6é lose both its accent and its syl-
labic identity? If the -e is completely gone, of
what possible use is the apostrophe P It should
stand for something. The final vowel is
clearly gone in apocope; but there no apos-
trophe is used. Why not? Is it not needed,
if the two are alike? Are they, as a matter of
fact, alike, or is there a difference? And if
there is really a difference, what is it? Does
the mere statement that the variation in the
form of the writing arose from a desire to
show the different ways in which the loss
originated explain the fact?
But, again, why should dissyllabic words
which suffer elision remain either accentless
or oxytone, although similar words under the
influence of apocope become grave in accent,
even if originally paroxytone Homer has ºv'
and ott’ and other similar forms (Od IX I 36-
137, etc, etc.); but he has also köö 6' (Ibid 482
etc.), not to mention other cases of apocope.
If the vowel sound is dropped in elision at the
end of the words ºvo and offre, why are they not
written v and ott 2 Will “custom *, or “ex-
ception ”, explain the peculiarity? Is it pos-
sible that the words “Apocope ’’ and “Elision "
may in some way suggest an explanation of
the difference which is used in the method of
writing in the two cases? Do these words
merely name alternate forms of the same phe-
nomenon, or do they imply that there is a
difference, in the two things themselves, which
is real and palpable? What do those acute
accents mean? Cf the pºp' éyò, Ém't' fiorov, etc,
of the grammars, and such expressions as Il
I Io'7, to kák’ éori, and Ibid 174, Tráp' époi ye,
(Rzach). Cf also the forms of &pa (fić) as in
Il II 761, rſs r' àp rôv, VII 182, 8v Šp' #6eAov,
I II 3, kai yap fia. KXutoupºvijo rpms, and IV 501,
rów 5’’Oövoreys. Do words involving elision be-
come, so to speak, a part of the following
" . . *_ t - ~gr i
words, so that they evade the law of the final
grave?
If this mode of escape is taken, of what use
are the initial breathings on the words which
follow 2 And how can a pause, such as often
occurs in elision in Homer, be observed 2 See
below. Moreover, what shall be done with
such cases as pumpt” &Kma, (Hom Il I 4o; Od IV
764; IX 553; etc, etc) and āy)\á' àtolva (Il I
III) P With the last example, cf Ibid 23 and
377, §yAao Séx0at à mouva, and note the recessive
acute accent in elision. Do the two adjacent
acute accents, which are used in the two in-
stances cited, harmonize with the law of dis-
syllabic enclitics, on the basis of such a com-
lination? Many similar examples occur, as a
few citations will indicate: peyd'A' toxe, Il I
482; tā6’ oro-erat, I 573; dip' épm, I 584, etc;
orróp.’ exov, IT 250; dip’ &eto, II 268; p.éy' àpt-
orrow, II 274, etc.; not to mention others. It is
true that two, or even three, adjacent acute
accents sometimes occur, where there is no
pause and no elision, as in Jl I 28, pºſſ vſ rol
416, Éreſ vſ Tot, 542, oiloé ré Trô plot, and II 238,
# fig ti oi. Such cases, however, involve no
combination of the syllables bearing the ac-
cents. The words are either wholly or par-
tially monosyllabic, and they can always be
clearly separated. It cannot be so in cases of
elision, if slurring is allowed. Cf Il II 572,
60° àp' "A8pmeros. Are these three words pro-
nounced as one, with three adjacent acute ac-
cents? Is such a supposition reasonable? Can
it be avoided, if slurring is permitted P
Tºut, -to return to the preceding examples—
if the final vowels in these instances are elided
to avoid hiatus, as they are regularly supposed
to be where elision occurs; can it be called a
success in the first two cases? Will the two
adjacent short vowels, with their acute accents,
lend themselves to the avoidance of hiatus with
any degree of readiness? Even if we assume
that a parasitic consonantal sound is developed
before the initial vowel, as, for example, a
y-sound in the first case; will not one of the
accents at once tend to become obscure, pro-
vided this process of avoiding hiatus succeeds?
Will the hiatus be relieved, in other words, by
dropping the final vowel, in case both accents
are kept? And what sound can be developed
between the two o's of the second example, or
what object can there be in dropping an a
between two others? Does such a process
avoid hiatus? Is the statement that these are
exceptions satisfactory P Does it explain what
it pretends to explain P Does it, in fact, do
anything more than beg the question?
Yº... • * ' ' ' t

THE NEW YORK
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LAST NOTICE
SIXTEENTH MEETING OF THE LATIN CLUB—DEC 2, 1905
Professor Benjamin L D’Ooge of ſlichigan State
Normal College will address the club on the sub-
ject, “Essentials and Non-Essentials” at the Hotel
ſtarſborough, Thirty-fifth street and Broadway,
New York City. Be sure to notify “THE LATIN
LEAFLET’’, 1050 Bergen street, Brooklyn, by
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TO THIS THATTER NOW.
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Elision in latin ANd GREEk
In Four Parts—Part II
BY H W IMAGOUN
The word Hiatus means ‘aperture ', ‘gap ',
and it seems to refer to a pause or break in
the current of speech, such as would naturally
occur between adjacent vowel sounds in dif-
ferent words. Hiatus is not merely the juxta-
position of two vowel sounds, either distinct or
similar, as many seem to suppose; for, as is
already recognized in the grammars, there is
no inherent reason why adjacent vowel sounds
should produce hiatus in different words and
not produce it in the same word; and there
still remains a goodly number of Greek words,
in which separate vowel sounds occur side by
side, after all contractions have been allowed
for. Where the consecutive vowel sounds
blend together, there can be no hiatus. When
they do not blend, but each stands out by it-
self, so to speak, there is hiatus.
The way in which the blending is accom-
plished, is the important matter. if it is as-
sumed that it is by the development of para-
sitic consonantal sounds between the vowels,
the development of parasitic consonantal
sounds is not necessarily more difficult be-
tween words than it is between syllables, al-
though there is always a slight tendency to
mark the end of a word in utterance, as distin-
guished from the end of a syllable within a
word. And, if the character of the vowel
Sounds is takén as a basis, Homer must still
be reckoned with ; for he has untold instances,
in which the same vowels that suffer elision at
the end of a word are used within a word be-
fore syllables beginning with a vowel. Does
LATINLEAFLET
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goes into the
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No 133
any one suppose that hiatus existed within
these uncontracted forms? But how was it
avoided ? Is it not clear that any blending of
successive vowel sounds, however accom-
plished, must prevent hiatus, and that where
hiatus occurs there must have been a distinct
pronunciation of each vowel sound, with a
perceptible break or pause between the two
Such a break would naturally cause a labored
utterance in any language, and a labored ut-
terance is what hiatus clearly implies. Cf
Quintilian, IX iv 33-40. Within a word this
was plainly avoided in some way. Do not the
forms of the latter Attic show that, where a
single short vowel was followed in the same
word by another vowel or by a diphthong,
there was a strong tendency to blend the for-
mer with the latter, by some means? And did
single long vowels, similarly placed, escape a
similar fate? Would not the ultimate result
of such a tendency naturally be a contraction,
such as these forms show P. But, if this ten-
dency existed within a word, may not a similar
tendency have existed at its end also, at least
to some extent? Might not crasis be the out-
come of such a tendency carried to its logical
conclusion, and elision a step in the same gen-
eral direction ? In short, what was there to
hinder the final vowel sound in a case of elision
from becoming obscure or colorless, just as
certain sounds tend to become in modern lan-
guages? In this form would it not blend
readily with the vowel sound which followed,
and so avoid hiatus?
One other factor must be considered ; for, as
has already been intimated, due weight must
be given to the fact that the vowel ends a word
in a case of elision, but not in a case of con-
traction. This fact must influence to some ex-
tent the method used in blending the first
vowel with the second. There will always re-
main a slight, though almost imperceptibie
break in the one case (elision), unless the
blending is allowed to continue until it does
sufficient violence to the two words to weld
them into one (crasis). In the other case, the
mind does not feel that an end has been reached
with the conclusion of a syllable not final, and
the tongue accordingly tends to blend the
vowel sounds without a break.
2 THE LATIN LEAFLET
This may be done in various ways. Pro-
nunciation may slightly modify the vowel color
of one of the sounds and so blend them to-
gether, or some sort of a parasitic sound may
be developed between the two. In whatever
way it was actually accomplished, the important
fact is that the sounds were somehow blended.
Are the contract forms of later Greek anything
more than the logical outcome of such a ten-
dency P And is it to be wondered at that crasis
was comparatively rare? Does it not even
show clearly the analogical influence of con-
traction ? The use of the coronis indicates that
the end of the first word was never really lost
sight of ; but kopov's does not mean the same
thing as ātróotpoqos.
Apocope means ‘cutting off', and it must
refer to the actual dropping of a final short
vowel. What does elision mean? Does it
necessarily contain the idea of dropping '? It
is ordinarily defined at ‘striking out '; but the
verb laedo means ‘to hurt by striking ', ‘ to
wound ’, ‘to injure ', ‘ to damage '. Is there
anything in this of significance? Would not
the destruction of the distinct character of the
vowel sound, without dropping it altogether,
be quite sufficient to meet all the requirements
of the Latin word elisio? Is there no differ-
ence in the pronunciation of Homeric fiel’(fiéſa)
“easily ', and the later Attic fieſ, ‘it flows ºf
But if elision has reference to the mutilation
of a vowel rather than to its destruction, can
the apostrophe stand for such a sound 2 Is the
meaning of the word áróarpoºbos, ‘turned
away', helpful? I)oes it suggest a breaking
off, a cutting off completely, or a twisting out
of shape? And if the apostrophe does not
stand for something of this kind, let us ask
again,_Why is it there? Assuredly no apos-
trophe is needed in elision to mark an “omit-
ted ” vowel. One is not needed in apocope, al-
though in apocope the word may be further
mutilated by a change of accent, a contingency
which is relatively much more rare in elision.
If each represents the dropping of a vowel, it
ought certainly to be necessary for apocope
also to use an apostrophe to mark the Omission.
My attention was first called to this matter
by my studies in prosody. Experiments with
a class in Vergil, made in the fall of 1898, had
led to the discovery that a natural reading of
the Latin words allowed every elided syllable
to be pronounced without distorting the rhythm
of the lines, the time beats showing that they
were still metrical. See Proc of the Amer
Phil Ass Vol XXXII (1901) pp civ-cxii; Ibid
Vol XXXIV (1903) pp. xxiv-xxv and li-lv;
and Bibliotheca Sacra Vol LX (Jan 1903) pp
33-60, CSpecially pp 35-44. It had struck me
many years before, when I was taught to scan
this author, that the omission of the elided syl-
lables caused an unnatural and harsh prolonga-
tion of the syllables which followed; and this
feeling returned with added vigor, when I be-
gan to teach Horace in 1893.
My students at that time voted unanimously
against the old method, as soon as the plan of
slurring the syllables in was tried, although
this method was far from satisfactory. The
practice of stressing the syllables beginning the
bars was soon abandoned, since it ruined not
only the sense but also the poetry. An attempt
to accent the words as in prose fared better;
but it soon appeared that the accents tended to
take on a slight elevation of pitch. This ten-
dency seems to be general, wherever the plan
is tried, although it may not be suspected; and
it fully accords with the growing conviction
that Latin accent was a matter of pitch at least
in the Classical period, rather than a form of
StreSS.
One step led on to another, until I became
involved, early in 1899, in an extensive in-
vestigation. Elision met me at every turn, and
I was amazed to find that the Greek showed a
capacity similar to that of the Latin. With a
regularity that was singular, to say the least,
the bars of Greek poetry showed a disposition
to be defective in length wherever they con-
tained an elided syllable. Lines of Homer,
read as the sense demanded but without con-
scious regard to the meter, when tested by
the time beats, seemed to show that the feet
containing elided syllables tended, as a rule
(there were exceptions where correption might
be suspected), to be too short for the tempo;
and all such feet required a conscious check in
the speed of utterance, if the lines were to be
metrical, or capable of being divided into equal
bars.
This is hardly a normal condition; for it is
not likely that a Greek had any more difficulty
in recognizing a line of poetry at sight than we
have; and, although we have no fixed quantity
in English, we read poetry as poetry, and we
do it instinctively. If, now, elision means the
dropping of a vowel to avoid hiatus, or ‘aper-
ture ', in the pronunciation; what is gained by
the process, if it makes a gap, or ‘ hiatus', in
the meter, which must, as a rule, be filled by
a slight conscious prolongation of a neighbor-
ing vowel, in order to preserve the equality of
the bars? Would such a condition of things
tend to make a Greek recognize a line of poetry
at sight?
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ELISION IN LATIN AND GREEK
In Four Parts—Part III
BY H W MAGOUN
In English, we sometimes write such com-
binations as ‘the horse ’’ and “the apple * with
an apostrophe in place of the final vowel of
the article; but no one ever thinks of pro-
nouncing “th’ horse’’ as thorse or “th' apple’”
as thapple. And yet that is precisely the sort
of thing that we do in Greek. In English, each
syllable keeps its identity and each is clearly
recognized by the ear. Why should not the
same be true in Greek, as, for example, in
6° àua, quoted above? Is not such a treatment
natural P Are there good and sufficient reasons
for supposing that ancient Greek (modern
Greek is a different thing) resembled modern
French in ths matter rather than English or
German, which shows a similar obscure fmal e?
What really happens to the -e in English
“ the ”? It cannot be said that it is pro-
nounced ; and yet it is not dropped. It is
plainly and decidedly obscured,—or is it
elided ? The form “th’”, which is but an at-
tempt to represent more accurately the pro-
nunciation actually used in colloquial speech,
is going out of use; for the colloquial pronun-
ciation is now taught in the schools. The
definite article, however, still remains a dis-
tinct word, in fact, even in poetry, although
the theory of scansion makes the assumption
necessary that it is a part of the following syl-
lable. But if it remains a distinct word at all,
it must contain a vowel fragment, if nothing
more. The sound actually used with the th– is
not usually recognized as a vowel; but neither
are the 1- and r-vowel sounds, which unques-
tionably exist in the language as it is spoken,
generally recognized as such in English.
No one can deny that English colloquial
“the ” has a colorless sound of some sort fol-
lowing the th–. What is it? Is it not a color-
less vowel, a sort of Schwa indogermanicum,
which may well represent the result of elision ?
Can Latin elisio, properly understood, mean
the complete destruction, or dropping, of a
vowel sound 2 The prefix -e does not mean
“off”, but ‘out ’. It is not a ‘bruising off ',
then, but a ‘bruising out ’, or a ‘bruising out
of ' (shape). To assume that it means ‘an in-
jury caused by striking out is to miss the true
sense of the word; for the prefix cannot mod-
ify the involved idea of ‘striking'. What it
does do, is to intensify the idea of injury. But
can the sign called an āróatpodos indicate, from
the meaning of the term, a true dropping of
the vowel which it replaces? Is the full ex-
pression, diróorpoºbos trpoogóta, “turned away
tone', ‘ turned away accent', to be taken as
referring primarily to the form of the sign
used ? Has it no deeper significance? Was
the symbol named first, or did it take its name
from the phenomenon which it was used to in-
dicate? Is not the latter the natural process?
In my own experience, a change of the kind
here advocated, removed a large part of the
well known difficulty of reading Greek verse
naturally and at the same time metrically, al-
though it seemed at the start as though the
theory, in actual practice, would not work. I
began with the well known lines: 643morev 8'
AxtMeiſs, uerå Ö' érpáter', airíka 6' yua IIa)\Aáð’
A6mvaínv: 8elvo 84 oi čoore béavěev. Hom Il I 199 f.
They contain a sufficient number of instances
to test the theory fairly well; for it is not
often that four such cases of elision occur in a
single line. After a few vain attempts, I mas-
tered the process, sounding the elided vowels
like the obscure -e of English colloquial “the ”;
and, to my amazement, the lines, which had
never before struck me as anything remark-
able, became not merely metrical, when read as
the sense demands, but they even seemed won-
derfully suggestive of the mental state of
Achilles. I have tried the same process on
many passages since and always with satis-
factory results, in both prose and poetry.
The lines, as read, departed from the regular
metrical scheme; but the changes made were
amply provided for by the native grammarians,
who not only recognize other feet than dactyls
and spondees in the hexameter but also men-
THE LATIN LEAFLET
acter of a Greek elided syllable might almost
amount to a case of contraction, and that it
might easily be taken for one, as English
“the''' has been, when not counted as a syl-
lable.
The use of a vowel fragment in place of
the proper sound of a final vowel not only
satisfied; all the requirements of the words
elisio and āróo Tpoqos, but it also makes all eli-
sion effective as a means of avoiding hiatus.
Such examples then, as those cited above
(pumpt' kma and āy)\á' àrowa) are not exceptions
at all. Hiatus is avoided here as elsewhere.
The vowel fragment left by elision is suf-
ficient to accomplish the result. In like man-
ner, it becomes clear that where the accent
was left acute the vowel fragment was final.
It was also final where unusual consonants
appear to be so, and slurring need not be
resorted to, to escape having a “tau ’’ or other
forbidden consonant at the end of a word.
Even the seemingly accentless forms probably
had a residual accent on the vowel fragment,
although it may almost seem to us to be on
the preceding (apparently final) consonant.
On this basis, the difficulty about proclitics
and enclitics disappears, as do all the others
mentioned, including a pause after elision.
Elision in such a case shortens the time used
in pronunciation. It was not necessary On
other grounds, although it may have been
used sometimes from habit.
If modern Greek usage is referred to, in
the matter (Cf Blass Aussprach des Griech
3rd ed pp 124-127 and I32), it should be
remembered that a great gap separates the
modern language from the language of Homer
and even from that of Aristotle. No one would
be willing to hold the phonetics of modern
English to standards of the English of Shake-
speare's day, which is still spoken in Ireland,
and no one should give undue weight to the
usages of modern Greek. They represent a
language of different sounds and of a dif-
ferent environment. They are themselves dif-
ferent, in all probability, and represent the
finished product of what was merely a tend-
ency in the earlier days. Otherwise, there is
no historical development (or degeneration),
and the vowels of Homer ought to show the
characteristics of modern Greek in all their
relations. To assume such a thing is too
absurd to need refutation. Modern slurring,
then, should not be taken for more than it is
worth.
In conclusion, it may be said that many of
our ideas of these matters have been based
on a limited knowledge of ancient teachings,
not to say on a misinterpretation of them.
Conventional rules of the matter-of-fact metri-
cians have been adopted, while the specula-
tions and careful observations of the ancient
musicians have either been disregarded or
rejected. This is unfair. The truth involves
the testimony of both schools, and it will be
found to lie between them. They are not
really inconsistent, although they may appear
to be so. What they need is a sympathetic
and careful interpretation, in the light of all
the facts.
On this basis, elision must cease to be taken
as the suppression of a vowel sound in either
Latin or Greek. It must also cease to be re-
garded as a slurring in either language, such
as is used in modern French. Obscuring is
all that is left, and it is a simple, natural, and
effective solution of all the difficulties. In
Greek, the obscuring was doubtless carried fur-
ther than it was in Latin; but the vanishing
point was not reached. It is not necessary to
Suppose that the Greeks carefully analyzed
the matter, or that they clearly recognized the
residual vowel fragment. They felt it, and
that was enough. They did recognize the
presence of an element not found in apocope,
and they called that element a ‘turned away
tone', or a ‘turned back tone', representing
it by a symbol which took the same name. Cf
the names given to the letters of the alphabet.
Having done this, they should not be accused
of inconsistency, even if they regarded such a
form as 8' as a single letter pronounced alone.
Modern scholars have gone quite as far in
giving to such expressions as “th' eternal’’
but three syllables. They would not pretend
to write the two words as one; and yet they
76." tº “t ºf 8 &
ought be willing to do so, if the number of
syllables is correct. Assuredly, the ancient
Greeks cannot be held to a higher degree of
accuracy than has been demanded of modern
Scholars, who have often failed to recognize
the residual vowel fragment, which is clearly
sounded in the expression just given and in
others like it.
ITALY GRE EIC E SICILY
Archaeological Tour No. 5, sails June 27, 1906.
Party limited to fifteen, Among other special features of
month in Greece are ascent of Parnassos, visit to Thessaly
monastries, and carriage drive to Sparta. For prices and
further information address the conductor,
DR. ARTHUR S. COOLEY, ABURNDALE, MASS.
THE LATIN CLUB LUNCHEONS FOR 1905-6
The Latin Club Luncheons for 1905-6 will be
under the management of The Latin Leaflet. We are
more than usually fortunate this year in our
arrangements for these luncheons. The hotel is the
Marlborough and it will give us a luncheon beyond
criticism. See No 126 for a sample menu. We shall
have a private dining room with ample seating
capacity, well ventilated and away from the noise.
To members of the Club and subscribers to The
Leaflet only, the price of a ticket for the three lunch-
eons of the year will be $2.00, for two luncheons
$1.50, providing the tickets are purchased in advance
of the date for the first luncheon, since tickets will
be required for admission to the dining-room. Fifty
cents will be refunded for each unused ticket, pro-
viding the same is returned to The Leaflet at least
two days before the date of the luncheon. Please
remember this point and get it straight. You are
therefore running no risk in buying a season ticket.
Anyone may secure a ticket for a single luncheon
for $1.00. These tickets can be secured from The
Latin Leaflet, IoSo Bergen St, Brooklyn, or from
any of the representatives of the various schools on
the Editorial Committee given on p 3 of this number
of The Leaflet. Please send in your orders early,
so that we may take time by the forelock. The dates
will always be announced at least a month ahead.
The dates are already known: Dec 2, 1905 with
Professor Benjamin L D'Ooge of Michigan State
Normal School as speaker, on the subject, ‘Essentials
and Non-essentials”; Feb 17, 1906 with Professor
Signey G Ashmore of Union College, New York, as
speaker on the subject, “The Value of Latin to Edu-
cation”; and May 19, 1906 with Professor Kirby F
Smith of Johns Hopkins University on a subject to
be announced later. The day is Saturday and the
hour is 12 M adjournment at 2 P M, thus leav-
ing the afternoon free for other engagements. You
know what these Latin Club Luncheons are. They
are recognized as the best things in New York.
The New York Latin LEAFlet
DAVID H. HOLMES, PhD, Editor-in-Chief
1050 BERGEN ST, BR00KLYN Telephone 2516k Bedford
Published by the New York Latin club in support of The New
ror! High school college Entrance scholarship Fund
Printed by the Roºk Publishing co, 35 Myrtle Ave, Brooklyn, NY
Board of Editors
Ernst Reiss, PhD, (DWCHS), Articles, 221 West 113 St,
Manhattan, New York
David H. Hoºtes, PhD, (EDHS), Subscriptions, 1050 Bergen
St, Brooklyn, New York
ERNEst D DANIELLs, PhD, (BHS), Advertisements, 638 La
Fayette Ave, Brooklyn, New York
Editorial Committee
David H Holmes, Chairman
HIRAM. H. Broe, DeWitt Clinton High School, Manhattan
Francis E. Brewer, Curtis High School, Richmond
EMILY E BRiggs, Newtown High School, Queens
Edward C. Cºrckering, Jamaica High School, Queens
Eleanor P Clark, Girls Technical High School, Manhattan
San Ford L. Cutler, Morris High School, Bronx
WALTER E Foster, Stuyvesant High school, Manhattan
Eugene W HARTER, Erasmus Hall º School, Brooklyn
Archiºn...L. Hoogºs, Wadleigh High School, Manhattan
David H_Holmes, Eastern District High School, Brooklyn
Anna S !". Girls º School, Brooklyn
Estelle Johnson, Far Rockaway #" School, Queens
M. Estelle Mulholland, Flushing High School, 3".
EDGAR S Shumway, Manual º School, Brooklyn
HARRY F Towle, Boys High School, Brooklyn
GEO. R. CHRIST, PH. G., DRUGGIST,
39 GRANT SQUARE, Cor, Bergen St., BROOKLYN, N. Y.
THE LATIN LEAFLET 3.
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CHARLES H. LEVERMORE, Ph. D.
President
32tu 32 ori (Hntucrgttp
WAS H 1 N GTO N S QUARE, NEw York city
Collegiate Division and Graduate School, Department of
Latin. Advanced Courses, and Seminars, for Teachers. After.
noons 4-6, and Saturday Mornings. Address inquiries to
JERN Est G. SIHLER, PH.D., University Heights
ERN's T R J Ess, PH.D., 221 West I 13th Street
Presented as a tribute to your success by
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ificabn-for-£cruice 2[pparei for ſlºem, 3}}omen & Tbiſbrøm
BROADWAY, 33d & 34th STS, NEW YORK
Three invaluable Publications for the Latin Teacher
The Private Life of the Romans ..... . . . . . . ............ $1.50
H. W. Juhnston, L. H. D.
Latin Manuscripts.................... . . . . ............. 2.25
H. W. Johnston, L. H. D.; 136 pages
Metrical Licenses of Vergil.............................. .50
H. W. Johnston, L. H. D.; 54 pages
SCOTT, FORESMAN & COMPANY
C H | CAGO--→ N EVV Y O R K
St. Clair’s First Latin Book
Ritchie’s Easy Continuous Latin Prose
Ritchie’s Exercises in Latin Prose Composition
Ritchie’s First Steps in Latin
Ritchie’s Fabulae Faciles
Bennett & Bristol’s Teaching of Latin and Greek
LONGMANS, GREEN & CO., Publishers
93 FIFTH AVENUE, NEW YORK CITY
speaking facility can best be
acquired from the modern
edition (class and self-instruc-
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In one Vol., 8vo, v -- 283 pp. Cloth, $1.25
ARCADIVS AVELLANVS
P. O. BOX 228, PHILADELPHIA
TUELL AND FOWLER's FIRST BOOK IN LATIN
“ſprefer it to any other beginner's Book.”
“Z have used at for six years and like it better every year.”
Thus write teachers from two Boston High schools in
Which more than 1,000 students use the Book,
The revised 1904 Edition is ready.
Benj. H. Sanborn & Co. 156 Fifth Ave., New York
S to Towle and Jenks's Caesar's Gallic War: “It is far and
away the most practical text-book for classes that I have
seen.---The Appendix defines the principles of Latin syntax
in the simplest and clearest language. - The simple typographical
arrangement by which the student is led to refer from his notes to
the Grammatical Appendix is one of the many attractions of the
book”. So writes to us an experienced teacher of Greater New
York—Others think so, too.
$1.25. -
Tunstall's Cicero's Orations, $1.25; Barss's Writing Latin
Book One, 50 cents, Book Two, 75 cents; Bain's First Book
75 CentS. º
UNIVERSITY PUBLISHING COMPANY
27–9 West 23d St., NEW YORK
flatmillan's 3Latin ºtritg
Gallic War complete; list price,
Barss's Nepos : Twenty Lives. . . . . .90
Bain’s Poems of Ovid. . . . . . . . . . . $1. Io
von Minckwitz’s Cicero. . . . . . . . . . . I.25
THE MAC MILLAN COMPANY
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THE TWENTIETH CENTURY LATIN SERIES
A FIRST LATIN Book—Clifford H. Moore, Harvard
A LAT 1N GRAMMER For Schools—A. F. West, Princeton
CoRNELIUS NRPos—George D. Chasc, Wesleyan
SALLUST’s CATILINE– Alfred Gudeman
CAusAIt's Comment ARIRs—John H. Wescott, Princeton
Cicero's ORATſons—Chas. H. Forbes, Phillip , Andover
VIRGII.'s A EN It I D-Jesse Benedict Carter, Princeton
OY I D–Gordon J. Laing, Univers tºy of Chicago
D. APPLETON & CO., e. tº wº
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D’Ooge’s Latin Composition for
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A unique work (also publishcd in a two-volume
edition) combining the systematic presentation of
symtax with exercises based directly on the text
D'Ooge's Latin Composition to AC-
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Cicero with second year Latin
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74
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