Archive for the ‘Western Literature to Dante’ Category

Why Study Greek?

Thursday, September 13th, 2012

I would make them all learn English: and then I would let the clever ones learn Latin as an honour, and Greek as a treat.
— Winston Churchill (somewhat out of context).

A few years ago I wrote an entry on this blog entitled “Why Study Latin?” It was a distillation of my own thoughts about the actual benefits of learning Latin — and the benefits one ought legitimately to expect from doing so. I tried to distinguish the real benefits from other phantom benefits that might not be, in and of themselves, fully valid reasons for undertaking the study. Not everyone agreed, but in general I stand by what I said there. From my point of view, the chief reason to learn Latin is to be able to read Latin; a significant second is to gain that unique way of looking at the world that attends that ability. One has access to a number of great works of Latin literature in their original forms, therefore, and one has also an enhanced ability to think in Latinate terms.

Of course other collateral benefits might reasonably accrue, but they are neither absolutely guaranteed to the student of Latin, nor are they benefits that attend Latin study exclusively. Dr. Karl Maurer of the University of Dallas suggested that I didn’t sufficiently credit the advantages a trained Latinist would have in reading older English — and he’s definitely right that this kind of textural depth of English poetry and prose will probably elude anyone who isn’t familiar with Latin, and the way Latin education was a cornerstone of English education from about 1500 to at least 1900. I certainly don’t disagree with his claims there; I don’t think they rank as matters of linguistics as much as matters of literary development and style. They’re still not trivial, however.

Be that as it may, for a variety of reasons, some of them right and some of them wrong, learning Latin has its champions, and I hope it gains a lot more. While I don’t agree with all the reasons one might advance for Latin study, I will enthusiastically concur that it’s a terrific thing to learn and to know.

Far fewer, however, champion learning Greek so loudly. For a variety of reasons, Greek is seen as far less significant. Some of those reasons are sound: Greek does not directly stand behind a broad range of modern Western European languages the way Latin does. Many of our ideas of statecraft and polity come from Greece, but most of them came through Latin in the process. Other reasons people shy away from Greek are fairly trivial. It has an odd-looking alphabet. Its literature seems to depend on a lot of odder assumptions. Realistic, though rather defeatist, is the fact that, in general, Greek is just considered tougher to learn. Many mainstream churches no longer even require their clergy to be able to read Greek (which seems preposterous to me, but that’s another matter).

For whatever reasons, Greek is certainly studied far less at the high school level than it once was. I read a statistic a few years ago suggesting that maybe a thousand students were actually studying ancient Greek in modern American high schools at any one time. The numbers may be as high as two thousand, but surely no higher than that. I don’t know whether those numbers have risen or fallen since I read it, but I certainly see no evidence that they have skyrocketed. I do occasionally run into a Latin teacher at the American Classical League Summer Institutes who teaches some Greek, but it’s most often a sideline, and often a completely optional “extra” for before or after school. Most of those students are being exposed to the Greek alphabet and some vocabulary, but fairly few of them are receiving a rigorous exposure to the grammar of Greek as a whole. If one narrows that to those who have studied real Classical Greek, as opposed to New Testament Greek, the numbers are probably smaller still.

For me most of the reasons for learning to read Greek are similar to those for reading Latin. The chief benefit, I would still insist, is to be able to read Greek literature in its original terms. Lucie Buisson wrote an eloquent defense of Homer in Greek not long ago in this blog. You cannot acquire a perspective on the Homeric poems like Lucie’s without reading them in Greek. It’s a huge deal: something snaps into view in a way that just cannot be explained to someone who hasn’t experienced it. No translation, no matter how good, can capture it for you. Though Keats memorably thanked Chapman for something like this eye-opening experience, the fact remains that Keats didn’t have the real thing as a comparandum. Chapman’s Homer is terrific — but Homer’s Homer is better.

Beyond the immediate experience of the literary objects themselves there is the fact that Greek provides its students with what I can only (metaphorically) call another set of eyes — that is, a different way of seeing the world, with different categories of thought that run deeper than mere changes in vocabulary. Virtually any new language one learns will provide that kind of new perspective: French, Spanish, or German will do so; Latin certainly does. I would suggest that Greek provides a uniquely valuable set precisely because it is further removed from English in its basic terms.

A reasonable command of multiple languages gives us what might be likened to stereoscopic vision. One eye, or one point of view, may be able to see a great deal — but it’s still limited because it’s looking from one position. A second eye, set some distance from the first, may allow us to see a somewhat enlarged field of view, but its real benefit is that it allows us, by the uncannily accurate trigonometric processor resident in our brains, to apprehend things in three dimensions. Images that are flat to one eye achieve depth with two, and we perceive their solidity as we never could do otherwise. Something similar goes on with an array of telescope dishes spread out over a distance on the earth — they allow, by exploiting even relatively slight amount of parallax in cosmic terms, an enhanced apprehension of depth in space. (Yes, there are also some other advantages having to do with resolution — all analogies have their limits.)

I would argue that every new language one learns will thus provide another point of view, enhancing and enriching, by a kind of analogical stereoscopy, a deeper and more penetrating view of the world. And like the more widely spaced eyes, or the telescopes strung out in a very large array, the further apart they are, the more powerfully their “parallax” (to speak purely analogically) will work upon us. This, I would argue, is one of the chief reasons for learning Greek. In some of its most fundamental assumptions, Greek is more sharply distinct from English than is Latin. A few examples will have to suffice.

Greek, for example, invites us to think about time differently. Greek verb tenses are not as much about absolute time as English verb tenses are; they are more about what linguists call aspect (or aspect of action in older writings). That is, they have more to do with the shape of an action — not its intrinsic shape, but how we’re talking about it — than merely locating it in the past, present, or future. Greek has a tense — the aorist — that English and Latin are missing. The aorist is used in the indicative mood to denote simple action in the past, but in other moods to express other encapsulation of simple verb action. Greek aorist verbs in the indicative will certainly locate events in the temporal continuum, and certainly English also has ways to express aspect — things such as the progressive or emphatic verb forms: e.g., “I run” vs. “I am running” or “I do run”. But whereas the English verb is chiefly centered in the idea of when something happened or is happening or will happen, with aspect being somewhat secondary, in Greek it’s the other way around. What exactly that does to the way Greek speakers and thinkers see the world is probably impossible to nail down exactly — but it’s not trivial.

Attic and earlier Greek has a whole mood of the verb that isn’t present in English or Latin — the optative. Students of New Testament Greek won’t see this on its own as a rule. There are a few examples such as Paul’s repeated μὴ γένοιτο in Romans (sometimes translated as “by no means”, but intrinsically meaning something more like “may it not come about”). But Attic and older dialects (like Homeric Greek) are loaded with it. It’s not just an arbitrary extension of a subjunctive idea: it runs alongside the subjunctive and plays parallel games with it in ways that defy simple classification.

Greek has a voice that neither English nor Latin knows, properly speaking — what is called the middle voice. It is neither active nor passive; but tends to refer to things acting on or on behalf of themselves, either reflexively or in a more convoluted way that defies any kind of classification in English language categories.

The Greek conditional sentence has a range of subtlety and nuance that dwarfs almost anything we have in English. Expressing a condition in Greek, or translating a condition from Greek, requires a very particular degree of attention to how the condition is doing what it is doing. In the present and the past, one may have either contrary to fact conditions (“If I were a rich man, I would have more staircases,” or “If I had brought an umbrella I would not have become so wet,”) general conditions (“If you push that button, a light goes on,”), and particular conditions (“If you have the older edition of the book, this paragraph is different”); in the future there are three other kinds of conditions, one of them nearly (but not quite) contrary to fact (“If you were to steal my diamonds, I’d be sad,”) called the future less vivid, and then a future more vivid and a future most vivid, representing increasing degrees of urgency in the future. All of these can be tweaked and modified and, in some rather athletic situations, mixed. If you study Greek, you will never think about conditions in quite the same way again.

Greek has what are called conditional temporal clauses that model themselves on conditions in terms of their verb usage, though they don’t actually take the form of a condition. There is something like this in English, but because we don’t use such a precise and distinct range of verbs for these clauses, they don’t show their similarities nearly as well.

The Greek participle is a powerhouse unlike any in any other Western language. Whole clauses and ideas for which we would require entire sentences can be packaged up with nuance and dexterity in participles and participial phrases. Because Greek participles have vastly more forms than English (which has only a perfect passive and a present active — “broken” and “breaking”) or than Latin (which has a perfect passive and a present active, and future active and passive forms), it can do vastly more. Greek participles have a variety of tenses, they can appear in active, middle, and passive voices, and they are inflected for all cases, numbers, and genders. All of these will affect the way one apprehends these nuggets of meaning in the language.

Those are only some examples of how a Greek sentence enforces a subtly different pattern of thought upon people who are dealing with it. As I said, however, for me the real treasure is in seeing these things in action, and seeing the ideas that arise through and in these expressions. So what’s so special as to require to be read in Greek?

Lucie already has written thoroughly enough about the joys of Homer; much the same could be said of almost any of the other classical authors. Plato’s dialogues come alive with a witty, edgy repartee that mostly gets flattened in translation. The dazzling wordplay and terrifying rhythms of Euripidean choruses cannot be emulated in meaningful English. Herodotus’s meandering storytelling in his slightly twisted Ionic dialect is a piece of wayfaring all on its own. The list goes on.

For a Christian, of course, being able to read the New Testament in its original form is a very significant advantage. Those who have spent any time investigating what we do at Scholars Online will realize that this is perhaps an odd thing to bring up, since we don’t teach New Testament Greek as such. My rationale there is really quite simple: the marginal cost of learning classical Attic Greek is small enough, compared with its advantages, that there seems no point in learning merely the New Testament (koine) version of the language. Anyone who can read Attic Greek can handle the New Testament with virtually no trouble. Yes, there are a few different forms: some internal consonants are lost, so that γίγνομαι (gignomai) becomes γίνομαι (ginomai), and the like. Yes, some of the more elaborate constructions go away, and one has to get used to a range of conditions (for example) that is significantly diminished from the Attic models I talked about above. But none of this will really throw a student of Attic into a tailspin; the converse is not true. Someone trained in New Testament Greek can read only New Testament Greek. Homer, Euripides, Plato, Aristotle, Sophocles, Herodotus, Thucydides — all the treasures of the classical Greek tradition remain inaccessible. But the important contents of the New Testament and the early Greek church fathers is open even with this restricted subset of Greek — and they are very well worth reading.

Greek is not, as mentioned earlier, a very popular subject to take at the high school level, and it’s obvious that it’s one of those things that requires a real investment of time and effort. Nevertheless, it is one of the most rewarding things one can study, both for the intrinsic delights of reading Greek texts and for some of the new categories of thought it will open up. For the truly exceptional student it can go alongside Latin to create a much richer apprehension of the way language and literary art can work, and to provide a set of age-old eyes with which to look all that more precisely at the modern world.

Do you still have that old double-dactyl thing…?

Monday, May 7th, 2012

Okay…now for something a mite silly. Of the various things I’ve published in one medium or another over the years, the one that people still e-mail me asking about is not actually anything serious — but this. It’s not widely available any more, so I thought I’d put it where those who want it can find it. It may also give my students in Latin IV and Western Literature to Dante something to chuckle at. I submitted it to a list of Latinists back in 1995, in response to a double-dactyl contest that had been announced there. For those who were looking for it, here it is. For those who just stumbled on it, I hope you enjoy it. For those who consider me humorless…perhaps you’re right. For those who find it out of place in this serious context…well, flip ahead to the next item or back to the last one…

I realize that the deadline for the double-dactyl competition has come and gone. I also realize that these do not qualify as Proper Double-Dactyls because:

a) there is an irregular overlapping of the sense occasionally into the first verse, which is properly off-limits to all but the obligatory nonsense, and

b) I have dispensed summarily (though, I think, for good cause) with the placement of a name in the second line of every stanza (a concession that cost three permanent punches on my poetic license — but I suspect it’s about to be revoked anyway).

Nevertheless, they do preserve the other features of the form, and constitute a cycle, as it were, of Almost-proper Double-Dactyls, maintaining a one-to-one correspondence of stanza to book of the Aeneid, something that has not, to my knowledge, been attempted before. One wonders why.

Their propriety on other, less formal, grounds, I decline to consider, and encourage the reader to do the same. The fact that they are only slightly and/or obscurely salacious (and not at all vicious) will strike some as a virtue, others as a deficiency; it is, for the time being, an unalterable function of my own mild and retiring nature. I must accordingly leave it to my readers to pronounce on the eligibility of these nugae for admission to the elect and spiritually rarefied company of classic double-dactyls.

To do so will of course require a certain amount of imaginative energy, since the corpus comprises so few real classics. The same task has already caused some discomfort for the author. Though one is inevitably stimulated by the freedom of a new species of verse, still it is a pity that this one is itself so young and its traditions so relatively slight, and there are so few verses eligible for allusive parody. We must manufacture them by exercising the power of hypothesis to — nay, beyond — its furthest reasonable extent. Then, what wonders emerge! Who can imagine what an Archilochus could have done with so potent a form in a siege: who can doubt that he would have reduced whole poleis by suicide, making that cast-off shield of his unnecessary? What clear little rivulets might Callimachus not have fashioned on this irrational bipedal Parnassus? What ripe mysteries could not Sappho have enclosed within the ambit of the Aeolic Iggledy Piggledy?

And yet my particular undertaking here is an epic one, and of a Latinate mold as well. It presumes (for sake of argument) all those Hellenic and Hellenistic antecedents and more. It presumes as well an entire early history of Latin double-dactyls, and invites us to suppose them as we may. It is obvious on reflection, surely, that the twelve thousand Ennian double-dactyls that never made it into Warmington’s collection would have afforded an unparallelled mine of six-syllable words, elaborately compounded by insertion, one into another. It seems similarly apparent that Lucretius could have written double-dactyls without much altering his general procedure at all. And imagine, for a moment, the Catullan hexasyllabic in all of its pumicexpolitous glory — darkly ironic and bitterly playful. What a lot we have lost to the fact that the double-dactyl was not contrived sooner. I like to think that these very verses here presented (rendered dashingly into Latin, of course) would have afforded Vergil himself a quicker and easier, if not a better, recusatio when pestered by Augustus to produce an epic. Surely the Princeps would have known better than to ask for more. And this is but the beginning. What could the Nachleben of such a work have been? Would Augustine have wept over the fourth double-dactyl? I think not. He’d have had to confess other things. Would Dante have sought another guide, or would the Divine Comedy have been much more comedic, and much less divine?

Be that as it may, it is our mortal lot to patch up as we can the deficiencies of the past, and to this mighty and thankless work I have here set my hand. Lest I appear a mere Johnny-come-lately to this particular area of historical repair, I hasten to point out that the first version of this nugatory opus had in fact been completed before I learned of the similar (and wholly admirable) efforts of some of my colleagues to render the Iliad into limericks. It seems fitting, though, that whereas that has been an accretive product of many authors’ labors (one might say an instance of traditional poetry, growing in our midst, even while we debate whether such a thing is possible), my contribution, like the poem on which it is modeled, is the product of a single vision, howso astigmatic: which is to say, I bear the blame for it entirely myself. That its relationship to its model is one of Very Free Interpretation is granted, and need not, I think, be pointed out in any critical essays; note of all other defects, real or imagined, should be carefully written down and sent to, where they will receive the attention they deserve. In conclusion, I should also warn one and all that any attempt at Deconstruction by anyone anywhere, with or without the proper credentials, will be vigorously resisted to the fullest extent permitted under the prevailing laws.

Which being said, for the amusement of those of my fellow Latinists still possessed of a sense of the absurd (which, given the state of the discipline, must be most of us), I offer the following:

Aeneas Reductus,
The Epick Taym’d

Arma virumque ca-
nobody’s suffered as
pius Aeneas, the
      Trojan, has done:
so he tells Dido, that
Tyrian princess and
      bundle of fun.

“Arma virumque, ca-
cophonous noises came
down through the floor of a
      large wooden horse;
that night all Hellas broke
loose, wrecking Troy, sealing
      Helen’s divorce.

“Arma virumque, ca-
lamitous ruin has
followed me everywhere,
      run me to ground;
now I, across the whole
find myself searching for
      something to found.”

Arma virumque, Ca-
lypso had no better
luck when she tried to keep
      arms on her man;
Dido does dire deeds
(Suicide’s shorter, but
      it wouldn’t scan).

Arma virumque, ca-
priciously Juno has
fired up the blighters to
      burn all the ships;
pius Aeneas says
“Build some new galleys, guys:
      then — watch your slips.”

Arma virumque, ca-
no one expects to get
out when they once have gone
      down into hell;
heroes, though, packing a
promise, appear to come
      through it quite well.

Arma virumque, ca-
tastrophe hatches to
cancel the wedding — a
      hitch in the plan:
Turnus, the mettlesome
lad, grows so mad as to
      nettle our man.

Arma virumque, ca-
nonical topics: a
good man, Evander, now
      enters the field;
Venus grows fretful, and
calling on Vulcan, buys
      sonny a shield.

Arma virumque, can-
tankerous Turnus tries
storming the camp — hopes to
      clean up the plains;
Nisus and Co., caught in
slaughters, are slaughtered in
      turn for their pains.

Arma virumque, (ca-
tharsis unbounded!) young
Pallas, Evander’s son
      buys it, poor pup;
Venus’s son fixes
responsibility —
sees that the prime bounder’s
      number is up.

Arma virumque, Ca-
milla the Volscian
makes for the Latins a
      splendid last stand;
leaving a legacy
“Trust no Etruscan who’s
      eyeing your land.”

Arma virumque: can
’neas put Pallas’s
fall from his mind, sweeten
      bitter with verse? —
“But that reminds me…” — so,
he does to Turnus two
      turns for the worse.

Copyright © 1995, Bruce A. McMenomy

Latin pronunciation for the continuing student

Monday, April 19th, 2010

On bulletin boards and in magazines dealing with classical homeschooling, one question that arises over and over again is, “What sort of pronunciation should we use in teaching Latin?” The options usually boil down to two: the reconstructed classical pronunciation, and the Italianate ecclesiastical pronunciation. Both have their champions, and the discussions that follow in their defense usually generate more heat than light. A lot of the discussion is usually centered on which one is right.

Asking “Which pronunciation is the right one?” is an exercise in historical reductionism doomed to fail. One cannot define an entire spectrum from a single point, and the history of Latin as a living language extends for somewhat over two thousand years. Either is right. Neither of them is satisfactory for all occasions.

Typically, the most attention is given this question by parents just starting out in Latin instruction. At this point, the question is more or less moot, and any real anxiety is out of proportion with its pedagogical significance. While learning forms — declensions and conjugations — it doesn’t matter much how you pronounce them, as long as you learn those forms, what they mean, and what they’re for. For practical purposes, therefore, my own suggestion is to pick one — whether purposefully or arbitrarily — and use it consistently for the first year or two. You’re probably better off choosing a pronunciation matching the kinds of texts used in the introductory text. With something like Wheelock’s Latin Grammar, which draws most of its examples from classical authors, you probably want to go with a classical pronunciation. If you’re using a course like Henle’s, which is based on ecclesiastical texts and ecclesiastical authors, then it only makes sense to go with that as your pronunciation standard. If your chief reason for learning Latin at first is to be able to sing church music, that’s a good reason to start with an ecclesiastical pronunciation as well.

Later on, though, pronunciation will become significant, especially when one begins to deal with literary products. Poetry in particular is at least largely about the sounds of a language. I’ll discuss that a little bit later. First, however, it’s probably worth dispelling some of the widespread misinformation that gets circulated.

The one I’ve heard most frequently is, “There are no recordings of classical Latin speakers. It’s clearly impossible to know how the language was pronounced.” This is generally used as a way of dismissing the classical pronunciation, though a parallel argument could be used as easily to dismiss any other system. Unfortunately, those who make this argument are merely asserting that they don’t know how to figure something of this sort out. But there are those who do.

At the subtlest level, yes — there are things we don’t know. We’d give a lot to be able to plant even one microphone in the Forum to pick up just one of Cicero’s orations. But we actually do know, with fair accuracy, how the major inventory of language sounds were produced. Historical linguistics is a slow and painstaking process, but over its long history people really have taken those pains, and so there is now a substantial body of data available for analysis.

Detailing all those sources of information is beyond the scope of this discussion, but a few examples may suffice. We do have a few grammatical and literary discussions about mispronunciations, of course. These are at least somewhat interesting. But they usually document the egregiously odd — such as Catullus’ harangue against a certain Arrius, who added initial “h” sounds to a lot of words that should have begun with a vowel. Those are colorful, but provide less information than we might wish, and almost no information about what was normal. There are, moreover, relatively few of them.

Just as one might read novels and the publications of the popular press today without learning a great deal about how we pronounce English, one could stare at a page of Cicero for the next ten years and learn little or nothing about how Cicero pronounced it. It would help you very little in distinguishing classical from ecclesiastical pronunciations.

But those are literary texts, and literary texts are not the only tools of the discipline. The real treasures for the historical linguist are errors. Some of the papers I get from my students, for example, could provide more information about how we speak than a ten-year run of National Geographic or New Yorker: those who write “I might of known” instead of “I might have known” are providing virtually irrefutable evidence that, in its auxiliary usage, “have” is normally pronounced much the same way as “of”. That will tell us something about the loss of the initial h; it will also tell us that in “of” the final f is like a v. The fact that one sees, with increasing frequency, comparative phrases formed with “then” rather than “than” illustrates the fact that in an unemphatic position (as these connective words almost always are), the vowel itself tends to settle down to about the same middle schwa sound (ǝ).

Our surviving evidence from the ancient world is (unsurprisingly) short on student papers, but they are not short of inscriptions scratched into stone of one sort or another. Some of these are quite elegant; others are primitive — the desperate efforts, for example, of a grieving parent who wants to memorialize his dead son or daughter as best he can. Often that best is riddled with misspellings. The inscriptions themselves are often rather moving, reaching across centuries with an uncommon universality, but in addition, almost every one of them tells us something about the language.

Anyone interested in the detailed conclusions about classical Latin, and the fastidious work that has gone into reconstructing it, would be well advised to take a look at W. Sidney Allen, Vox Latina. It’s fairly dry going, unless you have the philological bent, but it’s worth reading if you do. It argues every point with very solid evidence.

Of course the “we can’t know” argument is not the only one out there. Others are more belligerent and random. One of the more bizarre ones I’ve encountered over the last few years includes the reflection that “if it’s good enough for Dante, it’s good enough for me.” This sounds full of conviction, but substitutes triumphal ignorance for reason. Anyone even glancingly familiar with rhetorical fallacies will identify it as an appeal to inappropriate authority. Dante, writing a little more than 1300 years after Vergil (whom he regarded as his master), had no better direct access to recordings of Classical Latin than we do, but certainly lacked all the comparative evidence that has been marshalled over the last two centuries. To read Vergil as Dante did is probably a useful exercise, if you are interested in learning what Dante was hearing. It tells us virtually nothing about what Vergil was writing, however.

So does it matter what kind of pronunciation you use, and if so, why? To start with, no. It will obviously not affect your conversation with native Romans. It will probably not vastly affect your understanding of Latin texts. Some of the best classicists I have known have had very peculiar pronunciation. They seemed to get along. The English have had a long tradition of some of the finest classical scholarship in the world, coupled with with some of the worst pronunciation imaginable.

But if you want to deal with authors on their own terms, you probably need ultimately to learn and use two (or perhaps more) different ways to pronounce Latin. Sure, you should start with one method while you’re learning the ropes. But if you really want to appreciate the Latin that was written over a space of a thousand years, you have to be ready to adapt. It’s not really that hard, and the fruits of the exercise are considerable.

What’s wrong with reading classical Latin as if it were Mediaeval Latin? It’s not merely that it’s wrong. It’s not, I would argue, morally wrong, and if you can read and appreciate Cicero’s orations while reading them with a thick Italian or English accent, fine. But you will lose the music of the language, and especially with poetry, that’s important. Just as a brief illustrative case, let’s look at two consonants and a diphthong that are treated differently in Classical and Mediaeval pronunciations.

  • In classical Latin pronunciation, the letter C is invariably hard — like our K. It does not vary with position. In ecclesiastical Latin pronunciation, it will change to something like our CH sound (as in “church”) when followed by an I or an E.
  • Similarly, in classical Latin pronunciation, the letter T is invariably hard. In ecclesiastical Latin pronunciation, it will change to something like our S or TS sound when followed by an I or an E.
  • The diphthong AE in classical Latin is a true diphthong — beginning with A (as in “amen”) and gliding into an E or I sound — much like our word “eye”. In the ecclesiastical pronunciation, it is flattened to the equivalent of E — much like what we call a “long” A in modern English.

So in the classical pronunciation, the word “caelum” (heaven) comes out to something like “kylum”. In ecclesiastial pronunciation, it is going to be more like “chaylum”.

Consider the implications in the following fragment from the beginning of Bk. II of Vergil’s Aeneid. It’s written in the ancient meter reserved for epic and didactic poetry, dactylic hexameter. The meter is quantitative, and the lines are unrhymed.

A few lines into the book, one encounters the remarkable lines:

…Et iam nox umida caelo
praecipitat, suadentque cadentia sidera somnos.

…And now dewy night from heaven
descends, and the sinking stars bid us to sleep.”

Vergil achieves something remarkable here (and he knows it’s good: he quotes himself later in Bk. IV):

In a classical Latin pronunciation, the vowels are dark and muted; and the two words in the middle of the line contain an internal rhyme (suadentque cadentia), are followed by two words alliterating in S. The effect is lulling and hypnotic.

In an Italianate ecclesiastical pronunciation, all that is ruined. Praecipitat becomes something like praychippytot; cadentia becomes more like cadensia, which piles up one S-sound too many at the end of the line, so that the whole thing begins to hiss like a basket full of vipers.

Lest I seem to be exhibiting a bias in favor of the classical pronunciation, let me hasten to point out that one can achieve a similar train-wreck by reading mediaeval verse in the wrong way, too. Take the following example from the beginning of the monumental De contemptu mundi by Bernard of Cluny. It’s written in something also called dactylic hexameter, but it’s of a completely different sort. It’s qualitative (stress accent, rather than duration); its lines are rhymed internally (but always at word-end) at the end of the second and the fourth dactyls, and couplets are end-rhymed.

Hora novissima, tempora pessima sunt — vigilemus.
Ecce minaciter imminet arbiter ille supremus.
Imminet imminet ut mala terminet, aequa coronet,
Recta remuneret, anxia liberet, aethera donet.
Auferat aspera duraque pondera mentis onustae,
Sobria muniat, improba puniat, utraque iuste.
Ille piissimus, ille gravissimus ecce venit rex.
Surgat homo reus; instat homo deus, a patre iudex.
Surgite, currite simplice tramite, quique potestis;
Rex venit ocius ipseque conscius, ipseque testis.

To read this in a classical voice is to crush its rhymes: ocius and conscius in the last line there are meant to rhyme, but won’t, unless one follows the ecclesiastical norms for how to handle C; if one keeps a classical diphthong pronunciation of AE, the end-rhymes between onustae and iuste are obliterated. The driving, almost manic energy of Bernard’s apocalyptic lines drains away.

My point here isn’t to champion one form of pronunciation over another. It’s to recommend that a maturing Latinist — and I would include anyone who has done three or four years of Latin with Scholars Online — should learn to adapt his or her reading to the text at hand. If nothing else, it’s an act of humility before the material at hand, and that is probably a good thing in and of itself.