All the Possible Forms Do Not Occur
Text in blue derives unaltered from Gildersleeve’s Latin Grammar (1903). Text in purple derives unaltered from Smyth’s Greek Grammar (1920). A slight variation in hue or intensity indicates that the contiguous phrases come from different sections of the same book.
It is not to be doubted that there were poets. I myself will define my position.
Observe: this, then, is not the only way
—
prepare oneself, destroy oneself, perish
—
for it is always right to say,
“He went after the steps of the goddess.” The idea of effecting may be unexpressed, but
Continuance, End, and the like
after verbs of emotion really means, “I am exhorting; I am dying.”
Time that is relatively present,
which is intimately connected with the thought that
entire fulfilment is demanded or desired
it is the Tense of Disappointment.
The nearest approach to mere futurity,
even in composition, is rare and is unknown.
Old man is poetic.
The subject is that of which the predicate is said
(rare) to mark the point of departure.
Separation involves completion
with the ideal second person: Harry Archard Harry Archard William O’Keefe dad dad Harry Archard.
Much confusion exists in
the latter — the former, the former — the latter.
The augment (increase) denotes past time:
I said that he had come, used to come, did come. As one kind blends with another,
the awkwardness, or impossibility, of a literal translation may generally be relieved.
Neither tense has any time of itself
a thing personifies the thing:
of persons and personified things.
Mood signifies manner
having been lost between vowels.
I could wish your eloquence given to me
(to have in one’s mouth).
(Learn, poet — )
enough (of) eloquence.
At times, too, the disturbing influence is the insertion of
a violent displacement of words,
the positive being the thing dreaded:
the eyes of quails,
Dame Nature with a pitchfork
(usually graceful and free from obscurity),
(having a) snake-hand
(born elsewhere).
So in the paradigm of the verb: to be about to love
is colourless and phraseological.
Of statements that apply to all time,
anxiety (real or assumed) is due to the situation.
I let myself be dragged –
apart, asunder, (Give me this, honey dear), severally.
But I dropped you (without dropping you).
From this was developed a closer connection
(chiefly poetic).
It has been done by meis more common than I have done
because it does not show the limitation of continuance.
In many cases the form is felt more –
like a verb herein, the exact shade of difference cannot be accurately known to us.
The person of the verb is often changed.
Great grief is short, I do not understand
that which is actually non-existent or of no account. The subject acts with something belonging to himself:
to describe and to particularize;
to survey at a glance the course of a past action;
to be equal; (to distinguish), to be becoming; to be wanting; to please; to be a help; to order; to injure; and to forbid.
The thought holds good for all time.
Poems — I have none written.
ξ
Paul Bisagni (he/him/his) is a lapsed classicist, one-time applied linguist, and current MFA candidate in poetry at the University of Idaho. His poems can be found in TIMBER, Afternoon Visitor, Dream Pop Journal, SELFFUCK, and elsewhere. Alternative versions of him float around Instagram and Twitter @sapphojane.