quiet idyllic close comes to relieve the strain of a too ambitious flight.1 Emphasis and antithesis are cunningly brought out by juxtaposition or metrical responsion.2 Litotes or intentional understatement and oxymoron, intentional paradox or contradiction in terms, arrest the attention and emphasize the thought. Effects of economy and restraint are suggested by zeugma,5 by the limitation to one of two nouns of an epithet felt with both, and by the employment of epithets in such a way as to suggest their complementary opposites. The transferred epithet is frequent as in all poetry.8 Repetition is freely employed as a means of transition,9 for metrical convenience and for emotional effect.10 Transitions are ingeniously managed without the formal employment of the conjunction. An effective use is made of both polysyndeton 12 and asyndeton, or rather a certain calculated abruptness in transition, especially to the envoi or moral.13 The freedom of arrangement possible in an inflected language and required by the exigencies of the meter yields effects of symmetry, parallelism, antithesis, and interlocked order which will be felt by any one who reads the odes familiarly, but cannot be reproduced in English. As many as five words may 13. 5. 53 sqq., 4. 2. 57–60. n. 2 Cf. 1. 6. 9. n. 31. 23. 3. n., 2. 1. 22, 2. 12. 17, 2. 19. 15, 4. 1. 35. 4 3. 11. 35. n. and passim. 51. 15. 7, 2. 13. 10, 3. 4. 8, 11, 2. 19. 17. 63. 12. 9, C. S. 6. 73. 13. 6-7, 4. 8. 7. 8 1. 15. 19. n., 1. 37.7. n., 3. 1. 17, 42, 3. 5. 22. 3. 21. 19, 1. 3. 40, 2. 3. 8, 1. 29. 1, 2. 14. 27, 4. 7. 21, 3. 29, 1. n. Epode 10. 12. n. Cf. also 2. 7. 21 n., 3. 7. 1. 91. 2. 4-5 n., 4. 12. 16, 17, 4. 8. 11, 4. 2. 14-15, 2. 8. 18, 3. 4. 65, 1. 19. 5-7 and passim. 10 1. 13. 1, 2. 3. 17, 2. 17. 10, 3. 3. 18, 3. 5. 21, 3. 11. 30, 3. 27. 49, 4. 1. 33, 4. 13. 1, 4. 13. 18, Epode 4. 20. n. etc. 11 3. 2. 6. n. supra n. 9. 12 2. 1. 1. sqq., 4. 1. 13 n. 13 Cf. 1. 14. 17, 1. 15. 33, 4. 4. 73. intervene between a noun and its modifier, and the order within such a group may reproduce or reverse that of the extremes. In this way a thought is suspended, a picture is gradually unfolded, a name is effectively reserved for a climax, etc.1 These and other features of Horace's style are illustrated in the notes mainly by citation of similar traits from other poets. The abstract grammatical and rhetorical analysis of poetry is a curious intellectual exercise, but introduced as a means to literary appreciation it is liable to be substituted for the true educational end. IV. Intelligent enjoyment of the Odes is possible only to those who habitually read them aloud. The difference between long and short vowels (heavy and light syllables) should be clearly marked in the reading, and the student should be able to determine instinctively by the movement of the verse the quantities which he does not know. To accomplish this, practice is required rather than much technical knowledge of the theory and terminology of metrical science. There is some difference of opinion among scholars as to the amount of stress that should be given to the verse accent in reading or 'scanning' Latin poetry. In practice good readers will not be found to differ much. Many teachers find it helpful to exaggerate the singsong of the rhythm a little at first in order to assist the student's memory of the schemes. The elements of Latin prosody and the lyric meters of Horace are adequately treated in the grammars of Allen and Greenough, Gildersleeve, Harkness, and others. The following notes and tables are intended merely as practical aids. The most frequent of Horace's meters is the Alcaic Strophe found in thirty-seven odes. The scheme in longs and shorts is: 1 Cf. 1. 2. 52, 3. 7. 5, 3. 15. 16 n., 4. 5. 9. n., 1. 9. 21-24, 2. 19. 1-2, 3. 6. 46-8, 4. 4. 1-16, 1. 10. 9-12, 1. 22. 9-12, 3. 4. 9-13, etc. Modern theory assumes that the feet of a metrical series, like the bars of a musical strain, are all equal, and to indicate this equality employs conventional signs to denote an extra-rhythmical upward beat (anacrusis) at the beginning of a series, for irrational long syllables occurring in the place of short, for lengthened syllables, for rests that fill out a foot, for dactyls read trippingly in about the time of a trochee (cyclic dactyls), etc. Cf. A. G. 355, 356 f., 357, 368. n.; G. L. 738-744; H. 596-598. is: Expressed in these symbols the scheme of the Alcaic Strophe Odes, I., 9, 16, 17, 26, 27, 29, 31, 34, 35, 37; II., 1, 3, 5, 7, 9, 11, 13, 14, 15, 17, 19, 20; III, 1–6, 17, 21, 23, 26, 29; IV., 4, 9, 14, 15. ( v. The last syllable of a verse is indifferent. The combination > is called a trochaic dipody. Horace restricts himself to the form ~_> within the verse which makes his Alcaics and Sapphics weightier than those of the Greek poets, who freely use the form For convenience of memory the Alcaic Strophe may be said to consist of: (1, 2) an anacrusis (regularly long, always in fourth book) and a trochaic dipody, followed by three trochees the first of which is replaced by a cyclic dactyl, and the third of which is a trochee filled out by a rest; (3) anacrusis and two trochaic dipodies; (4) dipody of two cyclic dactyls, and trochaic dipody. Elision occurs at end of third verse 2. 3. 27, 3. 29. 35. The normal caesura in 1, 2 is a word-ending after the first trochaic dipody. Tennyson thus reproduces the meter in English: 'O mighty-mouth'd inventor of harmonies, Odes, 2. 14. 13-16 may be thus rendered in the meter of the original: 'In vain we shun the weltering field of war, The Sapphic Strophe occurs in twenty-six odes. Odes, I., 2, 10, 12, 20, 22, 25, 30, 32, 38; II., 2, 4, 6, 8, 10, 16; III., 8, 11, 14, 18. 20, 22, 27; IV., 2, 6, 11.; C. S. The meter could be described as (1, 2, 3) two trochaic dipodies separated by a cyclic (short) dactyl, and (4) a clausula consisting of a dipody of cyclic dactyl and trochee. Unlike the Greek poets, Horace usually breaks the dactyl by a word ending after the long syllable. Hence the short dactyl is written not ~~. But he also employs the so-called feminine caesura —~ || 、 seven times in the first two books, twenty-two times in the fourth book, and nineteen times in the fifty-seven verses of the Carmen Saeculare. It gives a peculiar soft lilt to the measure. Horace follows the Greeks in running the third and fourth verses together, 1. 2. 19, 1. 25. 11, 2. 16. 7. But he allows hiatus between them, 1. 2. 47, 1. 12. 7, 1. 12. 31, 1. 22. 15. The last syllable of the third line is normally long. Hypermetron occurs, 2. 2. 18, 2. 16. 34, 4. 2. 22, 23, C. S. 47. Swinburne reproduces the Sapphic in English thus: 'Clothed about with flame and with tears and singing Lines 1-4 of 2. 16 may be rendered: 'Peace the sailor prays on the wide Aegaean Tempest-tossed, when gathering wracks of storm cloud Hide the bright moon's face, and the stars no longer The beginner, misled by the word-ending after the long of the dactyl, too often reads with the effect of Canning's 'Needy Knife-grinder': 'Neédy knife-grínder whíther are you going? Rough is the road, your wheel is out of order, Black blows the blast; your hat has got a hole in it, After mastering the Sapphic and Alcaic Strophes, the student will be able to read the other meters by ear with an occasional glance at the scheme. He will be very foolish to burden his memory with the names attached to them by the later grammarians. A table is given for reference. I., 3, 13, 19, 36; III., 9, 15, 19, 24, 25, 28; IV., 1, 3. _>|~~~|-~|_^ I., 6, 15, 24, 33; II., 12; III., 10, 16; IV., 5, 12. |