and danced by the Salii
and other priesthoods; the only one of which that has come down to
us, a dance-chant of the Arval Brethren in honour of Mars probably
composed to be sung in alternate parts, deserves a place here.

-Enos, Lases, iuvate!
Ne velue rue, Marmar, sins incurrere in pleores!
Satur fu, fere Mars! limen sali! sta! berber!
Semunis alternei advocapit conctos!
Enos, Marmar, iuvato!
Triumpe!-

Which may be thus interpreted:

To the gods:
-Nos, Lares, iuvate!
Ne veluem (= malam luem) ruem (= ruinam), Mamers,
sinas incurrere in plures!
Satur esto, fere Mars!

To the individual brethren:
In limen insili! sta! verbera (limen?)!

To all the brethren:
Semones alterni advocate cunctos!

To the god:
Nos, Mamers, iuvato!

To the individual brethren:
Tripudia!-(4)

The Latin of this chant and of kindred fragments of the Salian
songs, which were regarded even by the philologues of the Augustan
age as the oldest documents of their mother-tongue, is related
to the Latin of the Twelve Tables somewhat as the language of the
Nibelungen is related to the language of Luther; and we may perhaps
compare these venerable litanies, as respects both language and
contents, with the Indian Vedas.

Panegyrics and Lampoons

Lyrical panegyrics and lampoons belonged to a later epoch. We might
infer from the national character of the Italians that satirical
songs must have abounded in Latium in ancient times, even if their
prevalence had not been attested by the very ancient measures of
police directed against them. But the panegyrical chants became
of more importance. When a burgess was borne to burial, the bier
was followed by a female relative or friend, who, accompanied by a
piper, sang his dirge (-nenia-). In like manner at banquets boys,
who according to the fashion of those days attended their fathers
even at feasts out of their own houses, sang by turns songs in
praise of their ancestors, sometimes to the pipe, sometimes simply
reciting them without accompaniment (-assa voce canere-). The custom
of men singing in succession at banquets was presumably borrowed
from the Greeks, and that not till a later age. We know no further
particulars of these ancestral lays; but it is self-evident that
they must have attempted description and narration and thus have
developed, along with and out of the lyrical element, the features
of epic poetry.

The Masked Farce

Other elements of poetry were called