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Updated: May 10, 2025
The Ciris has it less often than Catullus. Being somewhat unjustly criticized as an artifice it was usually avoided in the Aeneid. There are more harsh elisions in the Ciris than in the poet's later work, reminding one again of Catullan technique. In his use of caesuras Vergil in the Ciris resembles Catullus: both to a certain extent distrust the trochaic pause.
Among the more definite changes we may note that there are more full stops in the middle of lines, there are more elisions, there is a larger proportion of short words, there are more words repeated, more assonances, and a freer use of the emphasis gained by the recurrence of verbs in the same or cognate tenses.
Her followers dispersed by degrees, but not, I should say, until every man had explained to every other his own theory of the wound and the operation, and how my father had come to find the bullet so unerringly, each theorist tapping his own chest and back, or his interlocutor's, sometimes a couple tapping each other with vigour, neither listening, both jabbering at full pitch of the voice with prodigious elisions of consonants and equally prodigious drawlings of the vowels.
As for t'one and t'other, they should be 'tone and 'tother, being elisions for that one and that other, relics of the Anglo-Saxon declinable definite article, still used in Frisic. We have been minute in criticizing this part of Mr.
Michael Angelo's poems, even after his grand-nephew had tried to reduce them to lucidity and order, have always been considered obscure and crabbed. Nor can it be pretended that they gain in smoothness and clearness by the restoration of the true readings. On the contrary, instances of defective grammar, harsh elisions, strained metaphors, and incomplete expressions are multiplied.
It requires, indeed, not a little practice, to perceive its especial beauties; since these consist in certain quaint, playful inflections and elisions, which, like the speech of children, have a fresh, natural, simple charm of their own. The changes of pronunciation, in German words, are curious.
Neither did Jean Eastman who sat beside her, their heads together over the same book. Jean was reading aloud in hesitating, badly accented French, and paid even less attention to the intruders than Miss Carter, who called hastily, "In just one minute, Miss Harrison," and then cautioned Jean not to forget the elisions.
And yet the reader who likes a complete image, who desires to read with the senses as well as with the reason, is entreated not to forget that he prolonged his consonants and swallowed his vowels, that he was guilty of elisions and interpolations which were equally unexpected, and that his discourse was pervaded by something sultry and vast, something almost African in its rich, basking tone, something that suggested the teeming expanse of the cotton-field.
The contractions, elisions, and corruptions which German words undergo, with the multitude of terms in common use derived from the Gothic, Greek, Latin, and Italian, give it almost the character of a different language. It was Hebel's mother-tongue, and his poetic faculty always returned to its use with a fresh delight which insured success. His German poems are inferior in all respects.
By means of a few elisions, however, the episodic story of Melicent and of the men who loved Melicent has been disembedded from what survives of the main narrative.
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