Asclepiad IV. consists of four line stanzas, 3 a +y, Od. 1. 6, 15,

24, 33, 2. 12, 3. 10, 16, 4. 5, 12.

V. consists of four line stanzas, 2 a+d+y, Od. 1. 5,

14, 21, 23, 3. 7, 13, 4. 13.

§ 2. The Alcaic stanza is found in 37 Odes :—

1. 9, 16, 17, 26, 27, 29, 31, 34, 35, 37.

2. 1, 3, 5, 7, 9, II, 13, 14, 15, 17, 19, 20.
3. I, 2, 3, 4, 5, 6, 17, 21, 23, 26, 29.

It is obvious that we have here variations of two movements;
verse ẞ repeats and amplifies the movement of the first half of
a, verse y repeats the dactylic movement of the second half,
putting the trochees after instead of before it. This considera-
tion proves that although to the ear the movement of ẞ and of
the first half of a is iambic, it was in idea a sequence of trochees
preceded by an unemphatic syllable or anacrusis.' The
anacrusis is as often short as long in the fragments of Alcaeus
and Sappho. In Horace it is occasionally short, but more
rarely in ẞ than in a, and never in either in Book iv.

Alcaeus had admitted a spondee in the place of the second
trochee. Horace made the spondee imperative, see on Od. 3.
5. 17, 3. 23. 18.

The division of the two halves of the line is marked by
a caesura, which is only violated twice, in Od. 1. 37. 14 'Men-
temque lymphatam Mareotico,' and 4. 14. 17 'Spectandus
in certamine Martio.' There are two other instances where
a preposition at the beginning of a composite word gives
a quasi-caesura, 1. 16. 21 'Hostile aratrum exercitus insolens,'
1. 37. 5 Antehac nefas depromere Caecubum.' Horace seems
to have paid great attention to the rhythm of verse ß, excluding,
and more carefully in his later poems, all conjunctions of words

which did not by their accent counteract that natural sameness
of movement which we find undisguised in Alcaeus, λaipos
δὲ πᾶν ζάδηλον ἤδη, etc. No quadrisyllabic ending or beginning
is found in Book iv except of the forms of 'Nomen beati qui
Deorum' and 'Consulque non unius anni.' Verses of the form
of 'Gaudes, apricos necte flores' (1. 26. 7) are found only in 1. 16,
26, 29, 35, and 2. 1, 3, 13, 14, 19. Hunc Lesbio sacrare plectro'
in 1. 26. II is unique. It was the occurrence of these two verses
in 1. 26, and of the verse 'Alcaeé plectro dura navis' in 2. 13,
that called Lachmann's attention to the wrong date assigned
by Franke, on Justinus' authority, to the quarrel of Phraates
and Tiridates, and consequently to these Odes, which thus
became specimens of Horace's later instead of his earlier handi-
work, see Introd. to Books i-iii, § 8.

There is no synaphea between the verses of the stanza, but
Horace twice allows an elision of a hypermetric syllable at the
end of the third verse, 2. 3. 27 and 3. 29. 35. There is an
analogous licence taken in the Asclepiad metre in 4. 1. 35, and
Virgil allows it in the hexameter, Georg. I. 295, etc.

§ 3. The Sapphic stanza is found in twenty-five Odes :-
I. 2, 10, 12, 20, 22, 25, 30, 32, 38;

2. 2, 4, 6, 8, 10, 16;

3. 8, 11, 14, 18, 20, 22, 27;

4. 2, 6, II;

and in the Carm. Sec.

It employs two kinds of verse, the lesser Sapphic, which is
repeated three times—

and the Adonic-

༦.

The materials of the rhythm in this are the same as in the
Alcaic. It is a sequence of trochees and dactyls. This is
obscured in Horace, (1) by his excluding the trochee absolutely
from the second place, where it is often found in Sappho, and
in her first Latin imitator, Catullus, αἰ δὲ μὴ φιλεῖ ταχέως φιλάσει,
'Pauca nuntiate meae puellae'; (2) by his eschewing the break

before the dactyl, φαίνεταί μοι κῆνος ἴσος θεοῖσιν, ‘Ille mi par
esse deo videtur.' The lengthening of the short syllable in 2.
6. 14, ‘Angulus ridet, ubi non Hymetto,' is perhaps a trace of
the feeling that, as the first syllable of the dactyl, it had the
metrical accent upon it.

The caesura falls commonly, in the first three Books, after
the fifth syllable, 'Iam satis terris,' though it is found, from time
to time, after the sixth, 'Quem virum aut heroa.' In the Carm.
Sec. and the Fourth Book, Horace returns in this point to the
use of Catullus and the Greek, and employs the second caesura
frequently. In either the three Sapphic Odes of Book Four
together, or in the Carm. Sec. alone, there are twice as many
instances of it as in the twenty-one Odes of the earlier Books.

There is no synaphea, but hypermetric syllables are occa-
sionally elided at the end of all the first three verses of the
stanza (2. 2. 18, 2. 16. 34, 4. 2. 22, 23, C. S. 47). By Sappho the
Adonic was treated as if it scanned continuously with the verse
before, and this use is preserved in Horace to some extent,
a word being at times divided between them (1. 2. 19, I. 25. 11,
2. 16. 7). On the other hand, we find a hiatus at times, as in
I. 2. 47 'Neve te nostris vitiis iniquum Ocior aura.'

§ 4. Iambic metres.

Of these two occur in Horace :-

(1) The common Senarius or Iambic Trimeter (for the
name see Ars Poet. 252) in Epod. 17.

(2) Couplets of the Senarius and an Iambic Dimeter in
Epod. 1-10.

Horace does not observe the law of the Greek Tragic Sena-
rius in respect of a short syllable before a final cretic; see e.g.
Epod. 1. 27 and 29.

Three instances occur of an apparent anapaest in the fifth
place Epod. 2. 35 'laqueo,' 5. 79 'inferius,' 11. 23 'mulier-
culam'; but Meineke rightly explained them as instances of
synizesis, or using e and i as semivowels, after the analogy of
'aurea' in Virg. Aen. 1. 698, and of 'consilium' and 'prin-
cipium' in Od. 3. 4. 41 and 3. 6. 6.

§ 5. These metres account for 97 out of the 104 Odes (in-
cluding the Carm. Sec.), and 11 out of 17 Epodes.

Of the remaining metres, one or at the most two or three
specimens exist, which are to be viewed rather, as Mr. Munro
remarks, as experiments.

5. Alcmanium, Od. 1. 7 and 28, and Epod. 12.

It is in couplets consisting of the common Dactylic Hex-
ameter and a Dactylic Tetrameter.

6. The couplets named from Archilochus.
Archilochium imum, Od. 4. 7.

The common Dactylic Hexameter, followed by a Dactylic
Trimeter Catalectic (half of an Elegiac Pentameter) :-

Archilochium IIum, Epod. 13.

1

:-

The Dactylic Hexameter, followed by an asynartete 1 verse
called Iambelegus, being composed of a Dimeter
Iambic + half the Elegiac Pentameter :-

A common Iambic Trimeter, followed by a verse, also
asynartete, called Elegiambus, composed of the same
elements as the Iambelegus combined in a different
order.

Archilochium IVtum, Od. 1. 4.

(a) A verse called Archilochius Major, consisting of a
Dactylic Tetrameter+three trochees. It is not in
Horace asynartete, for the fourth dactyl is always
perfect, and no hiatus is found; but there is a strict
caesura between the two parts of the verse.

(B) An Iambic Trimeter Catalectic.

1 åσvváρTηтоs, the term used for a verse of which the two parts are
imperfectly joined together, where the last syllable of the first half is
independent in scansion of the first syllable of the second half, e. g.
Epod. 13, 8, 10, and 11. 6, 14. In this last case there is an actual
hiatus.

7. Two couplets called Pythiambic, from the name Пútos,
given to the Hexameter as the metre of the Delphic oracles.

(1) The Dactylic Hexameter, followed by an Iambic
Dimeter, Epod. 14, 15.

(2) The Dactylic Hexameter, followed by an Iambic
Trimeter, Epod. 16.

The Iambic verse in this metre consists entirely of pure
Iambics.

8. A couplet known as the Greater Sapphic, from the likeness
of the rhythm of both verses to the Common Sapphic verse.
The first line (which goes by the name of Aristophanes) is
a Sapphic without the initial trochees. The second is a Sap-
phic, with a choriambus inserted before the dactyl :—

It occurs in Od. 1. 8.

9. Hipponacteum, Od. 2. 18.

A couplet consisting of a Trochaic Dimeter Catalectic, fol-
lowed by an Iambic Trimeter Catalectic :-

ར་

10. Ionicus a minore, Od. 3. 12.

This is composed entirely of the foot called 'Ionicus a
minore' :-

The metre is described by Hephaestion, who takes as his
type an Ode of Alcaeus, of which the first line, which he quotes,
seems as if it may have been the original of Horace's Ode (see
Introd. to Od. 3. 12). It is not, he says, as it may easily be
taken to be, an unbroken succession of similar feet, but broken
into periods of ten feet each. Bentley pointed out that Horace's
Ode consists of forty feet, i.e. four such periods, and held that
the arrangement in lines, which many editors debate, was
merely a necessity of the writer or printer, and not to be
elevated into a law of the metre.