con__demnes.

__--'__--'__--'__^/ __--'__--'__--'_^

That which, misfortune dreading--sharply to afflict him, An anxious
parent vowed here,--when his wish was granted, A sacred tenth for
banquet--gladly give his children to Hercules a tribute--most of
all deserving; And now they thee beseech, that--often thou wouldst
hear them.

Panegyrics as well as comic songs appear to have been uniformly
sung in Saturnian metre, of course to the pipe, and presumably in
such a way that the -caesura- in particular in each line was strongly
marked; and in alternate singing the second singer probably took
up the verse at this point. The Saturnian measure is, like every
other occurring in Roman and Greek antiquity, based on quantity;
but of all the antique metres perhaps it is the least thoroughly
elaborated, for besides many other liberties it allows itself the
greatest license in omitting the short syllables, and it is at the
same time the most imperfect in construction, for these iambic and
trochaic half-lines opposed to each other were but little fitted
to develop a rhythmical structure adequate for the purposes of the
higher poetry.

Melody

The fundamental elements of the national music and choral dancing
in Latium, which must likewise have been established during this
period, are buried for us in oblivion; except that the Latin pipe
is reported to have been a short and slender instrument, provided
with only four holes, and originally, as the name shows, made out
of the light thighbone of some animal.

Masks

Lastly, the masks used in after times for the standing characters
of the Latin popular comedy or the Atellana, as it was called:
Maccus the harlequin, Bucco the glutton, Pappus the good papa, and
the wise Dossennus--masks which have been cleverly and strikingly
compared to the two servants, the -pantalon- and the -dottore-, in
the Italian comedy of Pulcinello--already belonged to the earliest
Latin popular art. That they did so cannot of course be strictly
proved; but as the use of masks for the face in Latium in the case
of the national drama was of immemorial antiquity, while the Greek
drama in Rome did not adopt them for a century after its first
establishment, as, moreover, those Atellane masks were of decidedly
Italian origin, and as, in fine, the origination as well as
the execution of improvised pieces cannot well be conceived apart
from fixed masks assigning once for all to the player his proper