iambics (e Geyseri prooemio)

[t400ec]

Of Shakespeare's Roman plays perhaps none is more
adapted for translation into Latin than Julius Caesar.
None is better known to the American Student than the
tragedy we have chosen for reproduction in Latin verse.
And justly so; for in Julius Caesar the student is made
familiar with one of the most interesting periods of the
entire history of the Roman Republic. The characters of
Caesar, Brutus and Cassius stand forth with such vivid
reality as to hold our interest to the end, and to make us
feel anew the greatness of the Roman Republican age in
which such men moved and shaped the destiny of their
people.

The translator was not unconscious of the many and
serious difficulties against which he had to contend. The
first problem which called for a decision was the choice of
the metre. The dramatic works of Plautus, of Terence
and Seneca, if we except the lyrics of the latter, are written
in quantitative iambic lines, varying greatly in the number
of metrical units. So it seemed natural to translate the
Shakespearian iambics into Latin quantitative iambics.
However the great difficulty which the average student has
in reading quantitative iambic verse, in which not only
elisions are to be observed, but also a great variety of
metrical units may be substituted for the original iambi,—
the reading of Plautus' Duo Captivi furnishes an abun-
dance of examples,—convinced the translator that his ver-
sion would run much more smoothly aad rhythmically, and
would be by far more suited for exhibition on the stage, if
it were written in accentual iambics.

Consequently, after consultation with men whose
opinions in this matter are deserving of the greatest con-
sideration, this plan was adopted, and the tragedy done
into Latin accentual iambics. Thus, there has been secured
a close imitation of the Shakespearian metre, an easy
rhythmical flow of verse, and, especially, because of the
avoidance of countless elisions, an intelligible rendition of
the dialogue made possible, and even easy, for Students
who are desirous of producing this Neo-Latin play on the
stage.*

The great length of the tragedy (it contains not less
than 2486 lines), would require from four to five hours
for its complete performance; hence, it will be necessary
to make a selection of such scenes as may be acted in the
space of from one to two hours, and which would be so
judiciously chosen, as to present a play, lacking neither
in coherence nor in perfect character-development.
Fortunately, the three first acts of Julius Caesar pre-
sent such a poetic unit, as to constitute a complete tragedy
in themselves,—the murder of Caesar. Consequently, if a
Classical Club or a School should desire to produce Julius
Caesar in this Latin translation, a choice could be easily
made from the first three acts, and the whole of the play,
thus selected, be produced in the space of from one to
two hours.

Moreover, the Shakespearian play contains in its five
acts numerous dialogues and some monologues which are
eminently suited for oratorical declamation, and which,
when well given by the Students, cannot fail to elicit the
interest and sincere applause of an appreciative audience.

* Accents are found in the Latin text, where two syllables, espe-
cially the endings ius, io, ium, etc. are to be read as one syllable
only. Cf. p. 39; 1. 90 "Cassius Cassium." Sometimes, as in
évoca, lémures, quantity is indicated.

[Ed Cryer]

Sed quaeritur quo numero aut quibus potissimum sit utendum. Incidere
vero omnis in orationem etiam ex hoc intellegi potest, quod versus saepe
in oratione per imprudentiam dicimus. Est id vehementer vitiosum, sed
non attendimus neque exaudimus nosmet ipsos; senarios vero et
Hipponacteos effugere vix possumus; magnam enim partem ex iambis nostra
constat oratio. Sed tamen eos versus facile agnoscit auditor; sunt enim
usitatissimi; inculcamus autem per imprudentiam saepe etiam minus
usitatos, sed tamen versus: vitiosum genus et longa animi provisione
fugiendum.
(Cicer; Orator)

Synopsis

We all speak under the shadow of poetry rhythms, most often unrecognised
because of their ubiquity. Iambs are everywhere; six to a bar.

Ed