Romane aquam Albanam lacu cave contineri, Cave in mare immanare suopte flumine siris; Missam manu per agros rigassis, dissipatam Rivis extinxis, tum tu insistito hostium audax Muris memor, quam per tot annos circum obsides Urbem, ex ea tibi his, quæ nunc panduntur fatis, Victoriam datam; bello perfecto donum Amplum ad mea victor templa portato; sacra patria Nec curata instaurato, utique adsolitum, facito. In later times Livius Andronicus translated the whole Odyssey into Saturnians, and Nævius wrote in the same metre a poem consisting of seven books, the subject of which was the first Punic war. Detached fragments of both these have been preserved by Aulus Gellius, Priscian, Festus, and others, which have been collected together by Hermann.[82] The structure of the Saturnian is very simple, and its rhythmical arrangement is found in the poetry of every age and country. Macaulay[83] quotes the following Saturnians from the poem of the Cid and from the Nibelungen-Lied— Estás nuevás a mío | Cíd erán venídas A mí lo dían; á ti | dán las órejádas. Man móhte míchel wúnder | vón Sifríde ságen Wa ích den kúnic vínde | dás sol mán mir ságen. He adds, also, an example of a perfect Saturnian, the following line from the well known nursery song— The quéen was ín her párlour | eáting breád and hóney. It was the metre naturally adapted to the national mode of dancing, in which each alternate step strongly marked the time,[84] and the rhythmical beat was repeated in a series of three bars, which gave to the dance the appellation of tripudium. The Saturnian consists of two parts, each containing three feet, which fall upon the ear with the same effect as Greek trochees. The whole is preceded by a syllable in thesis technically called an anacrusis. For example— Sum|más o|pés qui | régum ‖ régi|ás re|frégit ‖ The metre in its original form was perfectly independent of the rules of Greek prosody; its only essential requisite was the beat or ictus on the alternate syllable or its representative. The only law to regulate the stress was that of the common popular pronunciation. In fact, stress occupied the place of quantity. Two or three syllables, which, according to the rules of prosody would be long by position, might be slurred over or pronounced rapidly in the time of one, as in the following line:— Amném Trojúgena Cánnam | fúge ne té alienígenæ. Thus it is clear that the principles which regulated it were those of modern versification, without any of the niceties and delicacies of Greek quantity.