modelled it, and was the first to bring it into general notice. This kind of poetry was unknown to the Greeks: its place was supplied by what was called the Old Comedy, with which Horace, in defending his Satires, classes them. The Drama Satyricum was a parody on tragedy. The Latin word satira is not connected with the satyrs or the Drama Satyricum: it comes from the adjective satur, 'full, heaped up.' Hence satura means originally, 'a heaping up, mixing together of heterogeneous things,' either in offerings made to the gods, or in laws which embraced various subjects per saturam, 'in the gross or slump.' Hence the old Roman poets Ennius and Pacuvius called a poem written in various kinds of verse, and probably of a comic nature, a satura. Lucilius, about the year 120 B.C., retained the name, applying it to a regular hexameter poem, of the class now called satires, which he divided into thirty books. This originated the satire, and Horace expressly mentions Lucilius as its inventor. Horace, however, made an improvement on its character. He gave up personal attacks, and the assailing of particular individuals: for this he made use of his Epodes. In his Satires he lashes not single fools, but fools as a class-folly generally. The satire with him is a didactic poem; it gives instruction in the philosophy of life, and particular persons mentioned are introduced merely as illustrative examples. There are marked features of distinction also between Horace and his successors as Roman satirists, Juvenal and Persius, whose works are still extant. Lucilius had been entirely personal, and principally political; Horace, in another age and under other political circumstances, took only the follies of mankind as his subject: he was worldly-wise, and endeavoured to teach by showing where error lay. Juvenal inveighs against vice with ardour and indignation; Persius was a noble youth, of noble spirit, desirous to regulate life according to the maxims of the Stoic philosophy. In style, Lucilius was very free; Juvenal is rhetorical and regular; Persius difficult, epigrammatic, and full of obscurity. Horace retains throughout the tone of witty, familiar conversation. It is for this reason that he seems to have given to his work, though including it in the species of poetry called satire, the distinctive name of Sermones (Conversations.') This accounts also both for the fact, that his Satires are generally in the form of entertaining narrative, and for the peculiarities of their language and metre. In style, he keeps as close as possible to that of polished prose; indeed he speaks once of the musa pedestris in his Satires. In regard to metre, he so constructs his hexameters that they are very different from the sounding lines of heroic poetry. It would have been easier for him, as we can partly see from the Epistles, to follow the epic hexameters of Virgil; but he would not do it, that he might preserve the cha

racter of his own species of poetry more pure. The approach to prose in Horace's verse is seen, for instance, in his freedom with regard to elision, particularly that of the monosyllabic particles nam, dum, cum, si, which is contrary to the epic usage; in some cases of synaeresis, as prout, quoad, vindemiator; in syncopes, as caldior, soldum; and contractions, as divisse, surrexe. In the construction of the verse, also, we observe an intentional accumulation of spondees, whereas the well-framed epic line delights us by a tasteful variety of dactyles and spondees.

It seems proper to add to this introduction a table of the metres used by Horace in his Odes and Epodes. The strophes which he employs are of two kinds. In the Epodes, one somewhat long line is followed by a shorter one-the two forming a metrical whole or strophe; from which fact, as already mentioned, the word 'epode' takes its origin. The Odes consist all of stanzas or strophes of four lines each, with either the same or similar rhythm:

I. STROPHA ASCLEPIADEA PRIMA, which consists of the follow ing, four times repeated. See Zumpt, § 861.

II. STROPHA ASCLEPIADEA SECUNDA, which consists of a Glyconian line (Zumpt, § 859), and an Asclepiadean. These two, repeated, form the strophe of four lines.

III. STROPHA ASCLEPIADEA TERTIA, which consists of three consecutive Asclepiadean verses, and a Glyconian.

IV. STROPHA ASCLEPIADEA QUarta, which consists of two Asclepiadean lines, a Pherecratean (Zumpt, § 859), and ■ Glyconian.

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V. STROPHA ASCLEPIADEA QUINTA, which consists of a greater Asclepiadean line repeated four times.

VII. STROPHA SAPPHICA MAJOR, which consists of two pairs of lines, each containing a so-called versus Aristophanicus, and a choriambic trimeter. Zumpt, § 862.

IX. STROPHA ARCHILOCHIA PRIMA, which consists of two lines repeated the one a heroic hexameter, and the other a versus Archilochius minor. Zumpt, § 847.

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X. STROPHA ARCHILOCHIA SECUNDA, which consists of two lines repeated the one a heroic hexameter, and the other made up of an iambic diameter and a dactylic trimeter catalectic (versus iambelegus.)

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XI. STROPHA ARCHILOCHIA QUARTA,

which consists of two verses repeated-the one. a versus Archilochius major, the other an iambic trimeter catalectic. Zumpt, § 834.

XII. STROPHA ALCMANIA, which consists of two lines repeated -the one a heroic hexameter, the other a dactylic tetrameter catalectic.

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XIII. STROPHA IAMBICA PRIMA, consisting of a pair of iambic senarii. Zumpt, § 837.

XIV. STROPHA IAMBICA SECUNDA, which consists of two lines -the one an iambic senarius, the other a versus iambicus quaternarius. Zumpt, § 838.

XV. STROPHA PITHIAMBICA, which consists of two lines heroic hexameter, and an iambic senarius.

XVI. STROPHA TROCHAICA, which consists of two lines repeated the one a trochaic dimeter catalectic, the other an iambic trimeter catalectic.