|Isaiah 50.6 
corpus meum dedi percutientibus et genas meas vellentibus
faciem meam non avertiab increpantibus et conspuentibus|
--Per-cŭtĭo Carries the always-violent message of Psallo
(With the idea of the verb predominating.) To strike, beat, hit, smite, shoot, etc. (cf.: ico, pulso, ferio).
(With the notion of the per predominating.) To strike through and through, to thrust or pierce through (syn.: percello, transfigo).
B. Transf., to slay, kill (class.; cf.: “neco, perimo, ico, ferio): aliquem securi,” to behead
|Pulso. Of military engines. Of musical instruments: “chordas digitis et pectine eburno,” to strike, play upon, Verg. A. 6, 647: “chelyn,” Val. Fl. 1, 139: “pectine nervos,” Sil. 5, 463: “cymbala,” Juv. 9, 62.—Of things: “pulsant arva ligones,” Ov. Am. 3, 10, 31; id. M. 11, 529: “nervo pulsante sagittae,” Verg. G. 4, 313.
Always Violent: A.
In gen., to urge or drive on, to impel, to set in violent motion,
to move, agitate, disturb, disquiet:—
Pello, Always Violent: 1.
To drive out or away, to thrust or turn out, expel, banish; esp. milit., to drive back, discomfit, rout the enemy (freq. and class.; syn.: fugo, elimino, deicio)
Of a musical instrument, to strike the chords, play: “nervi pulsi,” struck,
Cic. Brut. 54, 199: “lyra pulsa manu,” Ov. M. 10, 205; cf.: “classica pulsa,” i. e. blown
In Particular b. To strike, play a musical instrument (poet.): “lyram,” Ov. Am. 3, 12, 40; Val. Fl. 5, 100.— to get drunk
--Ov. Am. 3.12 Elegy XII: He complains that the praises he has bestowed on his mistress in his verses, have occasioned him many rivals.
Ill-omen'd birds, how luckless was the day,
When o'er my love you did your wings display!
What wayward orb, what inauspicious star
Did then rule heav'n ? what gods against me war?
She who so much my fatal passion wrongs,
Was known and first made famous by my songs.
I lov'd her first, and lov'd her then alone,
But now, I fear, I share her with the town.
Am I deceiv'd or can she be the same,
Who only to my verses owes her fame
My verse a price upon her beauty laid,
And by my praises she her market made;
Whom but myself can I with reason blame?
Without me she had never had a name.
Did I do this, who knew her soul so well?
Dearly to me she did her favours sell;
And when the wares were to the public known,
Why should I think she'd sell to me alone ?
'Twas I proclaim'd to all the town her charms,
And tempted cullies to her venal arms;
I made their way, I show'd them where to come,
And there is hardly now a rake in Rome
But knows her rates, and thanks my babbling muse:
Her house is now as common as the stews;
For this I'm to the muse oblig'd, and more
For all the mischiefs envy has in store.
This comes of gallantry, while some employ
Their talents on the fate of Thebes and Troy,
While others Caesar's godlike acts rehearse,
Corinna is the subject of my verse.
Oh, that I ne'er had known the art to please,
But written without genius and success.
Why did the town so readily believe
My verse, and why to songs such credit give ?
Sure poetry s the same it ever was,
And poets ne'er for oracles did pass.
Why is such stress upon my writings laid?
Why such regard to what by me is said ?
I wish the tales I've of Corinna told,
Had been receiv'd as fables were of old;
Of furious Scylla's horrid shape we read,
And how she scalp'd her hoary father's lead:
Of her fair face, and downward how she takes
The wolf's fierce form, the dog's, or curling snake's;
Serpents for hair, in ancient song we meet,
And man and horse with wings instead of feet.
Huge Tityon from the skies the poets flung,
Encelladus's wars with Jove they sung;
How by her spells, and by her voice, to beasts,
The doubtful virgin chang'd her wretched guests;
How Eolus did for Ulysses keep
The winds in bottles while he plough'd the deep:
How Cerberus, three headed, guarded hell;
And from his car the son of Phoebus fell:
How thirsty Tantalus attempts to sip
The stream in vain, that flies his greedy lip:
How Niobe in marble drops a tear,
And a bright nymph was turn'd into a bear:
How Progne, now a swallow, does bemoan
Her sister nightingale, and pheasant son.
In Leda, Danae, and Europa's rapes,
They sing the king of gods in various shapes;
A swan he lies on ravish'd Leda's breast,
And Danae by a golden show'r compress'd;
A bull does o'er the waves Europa bear,
And Proteus any form he pleases wear.
How oft do we the Theban wonders read,
Of serpent's teeth transform'd to human seed!
Of dancing woods, and moving rocks, that throng
To hear sweet Orpheus, and Amphion's song ?
How oft do the Heliades bemoan,
In tears of gum, the fall of Phaeton!
The sun from Atreus' table frightened flies,
And backward drives his chariot in the skies.
Those now are nymphs that lately were a fleet;
Poetic license ever was so great.
But none did credit to these fictions give,
Or for true history such tales receive,
And though Corinna in my songs is fair,
Let none conclude she's like her picture there.
The fable she with hasty faith receiv'd,
V. Fl. 5.63
And what, so very well she lik'd, believ'd.
But since so ill she does the poet use,
'Tis time her vanity to disabuse.
visa viris atra nox protinus abstulit14 umbra.
95ille dolens altum repetit chaos. omina15 Mopsus
dum stupet, in prima tumulum procul aspicit acta,
obnubensque caput cineri dat vina vocato.
carmina quin etiam visos placantia manes
Odrysius dux16 rite movet mixtoque sonantem
100percutit ore17 lyram nomenque relinquit harenis.
To smite, strike, visit with calamity of any kind (class.): “percussus calamitate,” Cic. Mur. 24, 49: “percussus fortunae vulnere,” id. Ac. 1, 3, 11: “ruina,” Vulg. Zach. 14, 18: anathemate. id. Mal. 4, 6: “plaga,” id. 1 Macc. 1, 32: “in stuporem,” id. Zach. 12, 4.—
To strike, shock, make an impression upon, affect deeply, move, astound (class.): “percussisti me de oratione prolatā,” Cic. Att. 3, 12, 3; id. Mil. 29, 79:
Of animals, to pluck or pull, i. e. to deprive of the hair, feathers, et
Trop., to tear, torment A.
Lit., shorn, plucked, smooth, beardless, hairless:
Lit., shorn, plucked, smooth, beardless, hairless: “istum gallum Glabriorem reddes mihi quam volsus ludiust,” Plaut. Aul. 2, 9, 6
So, you want to be a barbarian?
--Pl. Cur. 1.2 PHÆD.
. Bolts, O ye bolts, with pleasure do I
salute you. I love you, I court you, I seek you, and you entreat; most
kindly lend your aid to me in love; become, for my sake, as though
from foreign climes
; leap upwards pray, and send out of doors this fair one, who drains my blood for me distractedly in love. Addressing PALINURUS.
Look at that, how those most accursed bolts sleep on, and none the quicker for my sake do they bestir themselves. Addressing the door.
I see quite clearly that you don't value my esteem at all. Hist! hush, hush!
Play-actors: The Lydians, or rather their descendants,
the Etrurians, were the earliest actors at Rome; hence the term used
here, "barbari," "foreigners." The metaphor is borrowed from the fact
that dancing, leaping, and gestures, were the especial features of
--Pl. Aul. 2.9
speaking to some within
. Dromo, do you scale the fish. Do you, Machærio, have the conger and
the lamprey boned. I'm going to ask the loan of a baking-pan of our
neighbour Congrio. You, if you are wise, will have that capon more
smoothly picked for me than is a plucked play-actor1. But what's this clamour that's arising here hard by? By my faith, the cooks, I do believe, are at their usual pranks2. I'll run in-doors, lest there may be any disturbance here for me as well. Retreats into the house of MEGADORUS.
1 A plucked play-actor:
The actors, having to perform the parts of women and beardless youths,
were obliged to remove superfluous hair from the face, which was
effected "vellendo," "by plucking it out," whence the term "volsus."
Galli , ōrum, m., the priests of Cybele, so called because of their raving,Ov. F. 4, 361 sq.; Plin. 5, 32, 42, § 146; 11, 49, 109, § 261; 35, 12, 46, § 165; Paul. ex Fest. p. 95 Müll.; Hor. S. 1, 2, 121.—In sing.: Gallus , i, m., a priest of Cybele, Mart. 3, 81; 11, 74; cf. Quint. 7, 9, 2: “resupinati cessantia tympana Galli,” Juv. 8, 176.—And satirically (on account of their emasculated condition), in the fem.: Gallae , ārum, Cat. 63, 12, and 34.—
(Acc. to II. A., of or belonging to the priests of Cybele; hence, transf.) Of or belonging to the priests of Isis, Gallic: “turma,” the troop of the priests of Isis, Ov. Am. 2, 13, 18.
Jews engaged in a form of musical idolatry which seens common in that
world: even the Greek singing and playing came out of Egypt. The
Egyptian trinity was Osiris, Isis and Horus: father, mother infant
child of many pagan triads.
Trop., effeminate: “mens,”
increpantibus Always Violent: I.
“increpatus,” Just. 11, 4, 5; Prud. 7, 195; Liv. 24, 17, 7 Cod.), 1, v. n. and a., to make a noise, sound, resound, to rush, rustle, patter, rattle, whiz (class.).
Act., to utter aloud, produce, give forth (poet.): “saevas increpat aura minas,” Prop. 1, 17, 6: tubasonitum. Verg. A. 9, 504.— terribilem Sabella pectus increpare carmina,”
carmen per me (sc. Apollinem) concordant carmina nervis,
Verg. A. 9, 504
But now the brazen trumpet's fearsome song
blares loud, and startled shouts of soldiery
spread through the roaring sky. The Volscian band
press to the siege, and, locking shield with shield,
fill the great trenches, tear the palisades,
or seek approach by ladders up the walls,
where'er the line of the defenders thins, and light
through their black circle shines.