Noctes Atticae

Gellius, Aulus

Gellius, Aulus. The Attic Nights of Aulus Gellius. Rolfe, John C., translator. Cambridge, Mass.; London: Harvard University Press; William Heinemann, 1927 (printing).

For what reason our forefathers inserted the aspirate h in certain verbs and nouns.

THE letter h (or perhaps it should be called a breathing rather than a letter) was added by our forefathers to give strength and vigour to the pronunciation of many words, in order that they might have a fresher and livelier sound; and this they seem to have done from their devotion to the Attic language, and under its influence. It is well known that the people of Attica, contrary to the usage of the other Greek races, pronounced i(xqu/s (fish), i(/ppos (horse), and many other words besides, with a rough breathing on the first letter. [*](I find no authority for this. Brugmann in Müller's Handbuch, II, 61 (end) cites i(/ppos as a word which originally had a smooth breathing and acquired the rough from the combination o( i)/ppos. Since the i in i)xqu/s is prosthetic, i(xqu/s, if it existed must have had the same origin, but Brugmann does not cite it. See also Indoger. Forsch. xxii, p. 197 (gives some additional information).) In the same way our ancestors said lachrumae (tears), sepulchrum (burial-place), ahenum (of bronze), vehemens (violent), incohare (begin), helluari (gormandize), hallucinari (dream), honera (burdens), honustum (burdened). For in all these words there seems to be no reason for that letter, or breathing, except to increase the force and vigour of the sound by adding certain sinews, so to speak.

But apropos of the inclusion of ahenum among my examples, I recall that Fidus Optatus, a grammarian of considerable repute in Rome, showed me a remarkably old copy of the second book of the Aeneid, bought in the Sigillaria [*](A street or quarter in Rome where the little images were sold which were given as presents at the festival of the Sigillaria; this was on Dec. 21 and 22, an extension of the Saturnalia, although not a religious holiday. The aureus was the standard gold coin of the Romans, of the value of 100 sesterces; its weight varied at different periods.) for twenty pieces of gold, which was believed to have belonged to

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Virgil himself. In that book, although the following two lines were written thus: [*](ii. 469 f. )

Before the entrance-court, hard by the gate,
With sheen of brazen (aena) arms proud Pyrrhus gleams,

we observed that the letter h had been added above the line, changing aena to ahena. So too in the best manuscripts we find this verse of Virgil's written as follows: [*](Georg. i. 296.)

Or skims with leaves the bubbling brass's (aleni) wave.

The reason given by Gavius Bassus for calling a certain kind of judicial inquiry divitiatio; and the explanation that others have given of the same term.

WHEN inquiry is made about the choice of a prosecutor, and judgment is rendered on the question to which of two or more persons the prosecution of a defendant, or a share in the prosecution, is to be entrusted, this process and examination by jurors is called divinatio.[*](Cf. Cicero's Divinatio in Caecilium, preliminary to the prosecution of Verres.) The reason for the use of this term is a matter of frequent inquiry.

Gavius Bassus, in the third book of his work On the Origin of Terms, says: [*](Fr. I. Fun.)

This kind of trial is called divinatio because the juror ought in a sense to divine what verdict it is proper for him to give.

The explanation offered in these words of Gavius Bassus is far from complete, or rather, it is inadequate and meagre. But at least he seems to be trying to show that divinatio is used because in

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other trials it is the habit of the juror to be influenced by what he has heard and by what has been shown by evidence or by witnesses; but in this instance, when a prosecutor is to be selected, the considerations which can influence a juror are very few and slight, and therefore he must, so to speak,

divine

what man is the better fitted to make the accusation.

Thus Bassus. But some others think that the divinatio is so called because, while prosecutor and defendant are two things that are, as it were, related and connected, so that neither can exist without the other, yet in this form of trial, while there is already a defendant, there is as yet no prosecutor, and therefore the factor which is still lacking and unknown—namely, what man is to be the prosecutor—must be supplied by divination.

How elegantly and clearly the philosopher Favorinus described the difference between the style of Plato and that of Lysias.

FAVORINUS used to say of Plato and Lysias:

If you take a single word from a discourse of Plato or change it, and do it with the utmost skill, you will nevertheless mar the elegance of his style; if you do the same to Lysias, you will obscure his meaning.

On some words which Virgil is asserted to have used carelessly and negligently; and the answer to be made to those who bring this false charge.

SOME grammarians of an earlier time, men by no means without learning and repute, who wrote

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commentaries on Virgil, and among them Annaeus Cornutus, criticize the poet's use of a word in the following verses [*](Eel. vi. 75. ff.) as careless and negligent:

That, her white waist with howling monsters girt,
Dread Scylla knocked about (vexasse) Ulysses' ships
Amid the swirling depths, and, piteous sight!
The trembling sailors with her sea-dogs rent.

They think, namely, that vexasse is a weak word, indicating a slight and trivial annoyance, and not adapted to such a horror as the sudden seizing and rending of human beings by a ruthless monster.

They also criticize another word in the following: [*](Georg. iii. 4)

Who has not heard
Of king Eurystheus' pitiless commands
And altars of Busiris, the unpraised (inlaudati)?

Inlaudati, they say, is not at all a suitable world, but is quite inadequate to express abhorrence of a wretch who, because he used to sacrifice guests from all over the world, was not merely

undeserving of praise,

but rather deserving of the abhorrence and execration of the whole human race.

They have criticized still another word in the verse: [*](Aen. x. 314.)

Through tunic rough (squalentem) with gold the sword drank from his pierced side,

on the ground that it is out of place to say auro squalentem, since the filth of squalor is quite opposed to the brilliance and splendour of gold.

Now as to the word vexasse, I believe the following answer may be made: vexasse is an intensive verb, and is obviously derived from ve-

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here, in which there is already some notion of compulsion by another; for a man who is carried is not his own master. But vexare, which is derived from vehere, unquestionably implies greater force and impulse. For vexare is properly used of one who is seized and carried away, and dragged about hither and yon; just as taxare denotes more forcible and repeated action than tangere, from which it is undoubtedly derived; and iactare a much fuller and more vigorous action than iacere, from which it comes; and quassare something severer and more violent than quatere. Therefore, merely because vexare is commonly used of the annoyance of smoke or wind or dust is no reason why the original force and meaning of the word should be lost; and that meaning was preserved by the earlier writers who, as became them, spoke correctly and clearly.

Marcus Cato, in the speech which he wrote On the Achaeans, [*](xxxv. Jordan.) has these words:

And when Hannibal was rending and harrying (vexaret) the land of Italy.

'hat is to say, Cato used vexare of the effect on Italy of Hannibal's conduct, at a time when no species of disaster, cruelty or savagery could be imagined which Italy did not suffer from his hands. Marcus Tullius, in his fourth Oration against Verres, wrote:

This [*](The temple of Artemis at Syracuse; § 122.) was so pillaged and ravaged by that wretch, that it did not seem to have been laid waste (vexata) by an enemy who in the heat of war still felt some religious scruple and some respect for customary law, but by barbarous pirates.

But concerning inlaudatus it seems possible to give two answers. One is of this kind: There is absolutely no one who is of so perverted a character

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as not sometimes to do or say something that can be commended (laudari.) And therefore this very ancient line has become a familiar proverb:

Oft-times even a fool expresses himself to the purpose.

But one who, on the contrary, in his every act and at all times, deserves no praise (laude) at all is inlaudatus, and such a man is the very worst and most despicable of all mortals, just as freedom from all reproach makes one inculpatus (blameless). Now inculpatus is the synonym for perfect goodness; therefore conversely inlaudatus represents the limit of extreme wickedness. It is for that reason that Homer usually bestows high praise, not by enumerating virtues, but by denying faults; for example: [*](Iliad iv. 366, 768, etc.)

And not unwillingly they charged,

and again: [*](Iliad iv. 223.)

Not then would you divine Atrides see
Confused, inactive, nor yet loath to fight.

Epicurus too in a similar way defined the greatest pleasure as the removal and absence of all pain, in these words: [*](Sent. iii. p. 72, Ussing.)

The utmost height of pleasure is the removal of all that pains.

Again Virgil on the same principle called the Stygian pool

unlovely.

[*](Georg. iv. 479; Aen. vi. 438.) For just as he expressed abhorrence of the

unpraised

man by the denial of praise, so he abhorred the

unlovable

by the denial of love. Another defence of inlaudatus is this: laudare in early Latin means

to name

and

cite.

Thus in civil actions they use laudare of an authority, when he is cited. Conversely, the inlaudatus is the same as

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the inlaudabilis, namely, one who is worthy neither of mention nor remembrance, and is never to be named; as, for example, in days gone by the common council of Asia decreed that no one should ever mention the name of the man who had burned the temple of Diana at Ephesus. [*](He is said to have set fire to the temple in order to make himself notorious for all time; see Val. Max. viii. 14. Exb. 5. His name, Herostratus, was preserved by Theopompus.)

There remains the third criticism, his use of the expression

a tunic rough with gold.

But squalentem signifies a quantity or thick layer of gold, laid on so as to resemble scales. For squalere is used of the thick, rough scales (squamae) which are to be seen on the skins of fish or snakes. This is made clear both by others and indeed by this same poet in several passages; thus: [*](Aen. xi. 770.)

A skin his covering was, plumed with brazen scales (squamis)
And clasped with gold.

and again: [*](Aen. xi. 487.)

And now has he his flashing breastplate donned,
Bristling with brazen scales (squamis).

Accius too in the Pelopidae writes thus: [*](v. 517, Ribbeck3.)

This serpent's scales (squamae) rough gold and purple wrought.

Thus we see that squalere was applied to whatever was overloaded and excessively crowded with anything, in order that its strange appearance might strike terror into those who looked upon it. So too on neglected and scaly bodies the deep layer of dirt was called squalor, and by long and continued use in that sense the entire word has become so corrupted, that finally squalor has come to be used of nothing but filth.