He now advances, now retires,

Now to her neck and cheek aspires.
Her fan in vain defends her charms;
Swift he returns, again alarms;
For by repulse he bolder grew,

Perch'd on her lip, and sipp'd the dew.

5

N.B.-"Vespa” is feminine. Do not be misled by the English. 1, 2. While thus she lies at-her-ease (lentus), an impudent (protervus) Wasp (line 2) cuts the air round her in a circle, as-it-wheels (pres. part. torqueo) its wanton flight.-3, 4. It now checks, now presses-on (urgeo) its course; now fixes kisses on her neck, and aspiring-further (non satiandus), on her rosy cheeks.-5, 6. In vain do the strokes of her fan protect her face: It goes, returns, and always causes (do) fears by-threatening-toreturn (rediturus).—7, 8. Grown-bolder (petulantior), I ween (Aids vII. 7), from the very (ipse) repulse, it (illa) perched-itself and-sipped (insidiata bibit) the dews of her lips.—" illa ” in line 7.

EXERCISE XL. (same continued).

She frowns, she frets, "Good gods!" she cries,
"Protect me from these teazing flies.
"Of all the plagues that Heav'n hath sent,
"A Wasp is most impertinent!"

1, 2. The nymph chafes (fremo); and frowning (traho rugas) cries, "Good gods! (proh numina!) keep ye off the flies, a hated race." See Exercise V. 1.—3, 4. Of all the plagues they have (quotquot), the gods and goddesses have sent no (non ullus, Aids 11. 1) evil more tiresome (importunus) than a wasp. In 3, 4, a slight transposition of words will be necessary.

Observe in line 3 the use of “quotquot,” as in Exercises XIII. and XXXII. Also the concrete for the abstract in the turning of the word "Heaven." See Exercise XXXVI., note.

EXERCISE XLI. (T. Moore).

The minstrel boy to the wars is gone,
In the ranks of death you'll find him;
His father's sword he has girded on,

And his wild harp slung behind him.
"Land of song," said the warrior-bard,

Though all the world betrays thee,

"One sword at least thy rights shall guard,

"One faithful harp shall praise thee."

1, 2. The young minstrel is preparing to go into the thick of (medius) the enemy: he will be conspicuous (part. in -dus) amid the carnage (cædes, pl.).—3, 4. To his side he has girded the sword that his father wore (gestamina patris); and his wild (fervidus) harp lies slung (aptus, part.) from his shoulder.5, 6. "Land of-song" (Musis inclytus), says the warrior bard, "though (licet) others betray thee, a faithless crowd :—7, 8. Yet still (at tamen) one sword shall maintain (servo-Poet. Orn. d) thy rights; one lyre shall sing thy praises, and that a faithful one" (nec male fidus, Aids 11. 2).

Observe in line 3 the Apposition: and on line 6, see Exercise V. Stanza I. 1, note.

EXERCISE XLII. (same continued).

The Minstrel fell! but the foeman's chain

Could not bring his proud soul under:
The harp he loved ne'er spoke again,
For he tore its chords asunder,
And said: "No chain shall sully thee,
"Thou soul of love and bravery!

"Thy songs were made for the brave and free;
"They shall never sound in slavery!"

5

1, 2. The minstrel (fidicen) falls himself: but the foeman's (adj.) fetters are powerless (non valeo) to subdue (Poet. Orn. 7) his breast (pl.) that-knows-not-how to yield (vinci). Some of the words will have to be transposed here.-3, 4. And the strains

of the harp, which he always loved, were hushed: for he broke and tore-asunder (Poet. Orn.λ. b.) the broken strings.—5,6. "No chain shall ever sully (violo) thy honours," said he, "thou source alike of bravery (virtus) and of love.-7, 8. The brave man for himself, the free man for himself claims those strains (carmen), not to-be-produced (referendus) by a servile hand!"-Repeat "those."

Observe, in line 6, that "soul" is not literally translated. Also, how, in line 7, the men are put for the abstract qualities.

EXERCISE XLIII. (Sir W. Scott).

Soldier, rest! thy warfare o'er,

Sleep the sleep that knows not breaking;
Dream of battled fields no more,

Days of danger, nights of waking.

In our isle's enchanted hall

Hands unseen thy couch are strewing:
Fairy strains of music fall,

Every sense in slumber dewing.

5

1, 2. Soldier, take thy rest, the contest being-o'er (positus): lie down o'erpowered (Voc., Part 11. Ex. XXV. 2), with unbroken (imperturbatus) sleep.-3, 4. Do not (ne) in thy slumbers (per somnos) picture (fingo) now to thyself the strifes of Mars, watchings by-night, and days not without danger (nec sine fraude).—5, 6. A (nescioquis) right-hand unseen (clam) is strewing thy couch in the hall, where [our] enchanted (dædalus) home rises from the midst of the waters.-7, 8. Meanwhile a drowsy (somnifer) dew steals-o'er each sense, whilst fairy (magicus) murmurs fall on every side (ex omni parte).

Observe in line 6 how "island" is expressed.

"Insula" is

very seldom available, and this phrase, or a similar one, will be found useful to remember.

EXERCISE XLIV. (same continued).

Soldier, rest! thy warfare o'er,
Dream of fighting-fields no more;
Sleep the sleep that knows not breaking,
Morn of toil, nor night of waking.

No rude sound shall reach thine ear,

Armour's clang, or war-steed champing;
Trump nor pibroch summon here

Mustering clan, or squadron tramping.

5

1. See Exercise XLIII. line 1.-2. Cf. Exercise XLIII. line 3; and see Aids I. c.-3, 4. Take, come, take the rest which knowsnot how to be broken (violo): far be (sit procul) the sleepless night, the toilsome day.—5, 6. Here the clang of arms shall not reach (penetro-Poet. Orn. 8) thy (tibi) ears: here the charger (sonipes) shall not chafe while he champs (premo) the bits (lupus') in his mouth.-7, 8. No (Aids II. 1) pibroch (buccina) shall summon the assembling peoples; the prancing squadron (ala) shall not give-the-signal (cano) on the hoarse trumpet. Observe the repetition of the verb in line 3 (Poet. Orn. (2).

EXERCISE XLV. (same continued).

Yet the lark's shrill fife may come,
At the daybreak, from the fallow;
And the bittern sound his drum,
Booming from the sedgy shallow.
Ruder sounds shall none be near;
Guards nor warders challenge here:
Here's no war-steed's neigh and champing,
Shouting clans, or squadrons stamping.

5

1, 2. (These lines must be almost entirely transposed.) But still, perchance, under the morning (Eous) sun the fallow field may-bring (referat) to thee the lark's shrill song.—3, 4. And the heron may-croak (crepo) its booming drum-notes (gravis tinnitus) with hoarse beak, where it chants the signal amid the marshy waters.-5, 6. Every sound is soft (nil non lene sonat. Aids II. 1): [there are] no warders on the threshold. The guard asks not, “Whither now, and whence, stranger ?"—7, 8. The horse neighs not here, nor champs (mando) the bit (pl.): the cohort's shout is-absent; no hoof tramples the plains.

Observe that the actual words of the challenge are given in line 6.

1 Cf. Ov. Tr. iv. 6. 3. Et placido duros accipit ore lupos.

EXERCISE XLVI. (Watts).

O God, our help in ages past,
Our hope for years to come,
Our shelter from life's stormy blast,
And our Eternal home.

Beneath the shadow of Thy throne
Thy saints have dwelt secure :
Sufficient is Thine arm alone,

And our defence is sure.

Stanza I. 1, 2. Our protection long ago (olim) through years gone by; our only hope, O God, of time to-come (part. in -rus).— 3, 4. We seek Thee as our harbour, when-tossed by life's stormyblast (turbo); Thou [art] our home indestructible (non periturus) by eternity (æterna dies).

Stanza II. 1, 2. Where Thy seat o'ershadows the earth, under that seat may (liceat) the pious always enjoy peace, as heretofore.-3, 4. If only (modo, with subj.) Thou be at-hand, what may not Thy right hand [do]? Thou [art] our defence (castra) inviolable (non violandus) by the hostile hand.

EXERCISE XLVII. (same continued).

Before the hills in order stood,
Or earth received her frame,
From everlasting Thou art God,
To endless years the same.

A thousand ages in Thy sight

Are like an evening gone;

Short as the watch that ends the night,

Before the rising sun.

Stanza I. 1, 2. Not-yet were the hills standing each in (ex) his own order; not-yet had the earth been brought (redactus) into her own shape.-3, 4. Yet Thou, God immortal, art from