The Odes and Carmen Saeculare of Horace. Гораций

form a double rhyme. Of these the four-syllable type seems to me the one to be preferred, as giving the effect of the Adonic better than if it had been two syllables longer. The double rhyme has, I think, an advantage over the single, were it not for its greater difficulty. Much as English lyric poetry owes to double rhymes, a regular supply of them is not easy to procure; some of them are apt to be cumbrous, such as words in-ATION; others, such as the participial-ING (DYING, FLYING, &c.), spoil the language of poetry, leading to the employment of participles where participles are not wanted, and of verbal substantives that exist nowhere else. My first intention was to adopt the double rhyme in this measure, and I accordingly executed three Odes on that plan (Book I. Odes 22, 38; Book II. Ode 16); afterwards I abandoned it, and contented myself with the single rhyme. On the whole, I certainly think this measure answers sufficiently well to the Latin Sapphic; but I have felt its brevity painfully in almost every Ode that I have attempted, being constantly obliged to omit some part of the Latin which I would gladly have preserved. The great number of monosyllables in English is of course a reason for acquiescing in lines shorter than the corresponding lines in Latin; but even in English polysyllables are often necessary, and still oftener desirable on grounds of harmony; and an allowance of twenty-eight syllables of English for thirty-eight of Latin is, after all, rather short.

      For the place of the Alcaic there are various candidates. Mr. Tennyson has recently invented a measure which, if not intended to reproduce the Alcaic, was doubtless suggested by it, that which appears in his poem of "The Daisy," and, in a slightly different form, in the "Lines to Mr. Maurice." The two last lines of the latter form of the stanza are indeed evidently copied from the Alcaic, with the simple omission of the last syllable of the last line of the original. Still, as a whole, I doubt whether this form would be as suitable, at least for a dignified Ode, as the other, where the initial iambic in the last line, substituted for a trochec, makes the movement different. I was deterred, however, from attempting either, partly by a doubt whether either had been sufficiently naturalized in English to be safely practised by an unskilful hand, partly by the obvious difficulty of having to provide three rhymes per stanza, against which the occurrence of one line in each without a rhyme at all was but a poor set-off. A second metre which occurred to me is that of Andrew Marvel's Horatian Ode, a variety of which is found twice in Mr. Keble's Christian Year. Here two lines of eight syllables are followed by two of six, the difference between the types being that in Marvel's Ode the rhymes are successive, in Mr. Keble's alternate. The external correspondence between this and the Alcaic is considerable; but the brevity of the English measure struck me at once as a fatal obstacle, and I did not try to encounter it. A third possibility is the stanza of "In Memoriam," which has been adopted by the clever author of "Poems and Translations, by C. S. C.," in his version of "Justum et tenacem." I think it very probable that this will be found eventually to be the best representation of the Alcaic in English, especially as it appears to afford facilities for that linking of stanza to stanza which one who wishes to adhere closely to the logical and rhythmical structure of the Latin soon learns to desire. But I have not adopted it; and I believe there is good reason for not doing so. With all its advantages, it has the patent disadvantage of having been brought into notice by a poet who is influencing the present generation as only a great living poet can. A great writer now, an inferior writer hereafter, may be able to handle it with some degree of independence; but the majority of those who use it at present are sure in adopting Mr. Tennyson's metre to adopt his manner. It is no reproach to "C. S. C." that his Ode reminds us of Mr. Tennyson; it is a praise to him that the recollection is a pleasant one. But Mr. Tennyson's manner is not the manner of Horace, and it is the manner of a contemporary; the expression—a most powerful and beautiful expression—of influences to which a translator of an ancient classic feels himself to be too much subjected already. What is wanted is a metre which shall have other associations than those of the nineteenth century, which shall be the growth of various periods of English poetry, and so be independent of any. Such a metre is that which I have been led to choose, the eight-syllable iambic with alternate rhymes. It is one of the commonest metres in the language, and for that reason it is adapted to more than one class of subjects, to the gay as well as to the grave. But I am mistaken if it is not peculiarly suited to express that concentrated grandeur, that majestic combination of high eloquence with high poetry, which make the early Alcaic Odes of Horace's Third Book what they are to us. The main difficulty is in accommodating its structure to that of the Latin, of varying the pauses, and of linking stanza to stanza. It is a difficulty before which I have felt myself almost powerless, and I have in consequence been driven to the natural expedient of weakness, compromise, sometimes evading it, sometimes coping with it unsuccessfully. In other respects I may be allowed to say that I have found the metre pleasanter to handle than any of the others that I have attempted, except, perhaps, that of "The Dream of Fair Women." The proportion of syllables in each stanza of English to each stanza of Latin is not much greater than in the case of the Sapphic, thirty-two against forty-one; yet, except in a few passages, chiefly those containing proper names, I have had no disagreeable sense of confinement. I believe the reason of this to be that the Latin Alcaic generally contains fewer words in proportion than the Latin Sapphic, the former being favourable to long words, the latter to short ones, as may be seen by contrasting such lines as "Dissentientis conditionibus" with such as "Dona praesentis rape laetus horae ac." This, no doubt, shows that there is an inconvenience in applying the same English iambic measure to two metres which differ so greatly in their practical result; but so far as I can see at present, the evil appears to be one of those which it is wiser to submit to than to attempt to cure.

      The problem of finding English representatives for the other Horatian metres, if a more difficult, is a less important one. The most pressing case is that of the metre known as the second Asclepiad, the "Sic te diva potens Cypri." With this, I fear, I shall be thought to have dealt rather capriciously, having rendered it by four different measures, three of them, however, varieties of the same general type. It so happens that the first Ode which I translated was the celebrated Amoebean Poem, the dialogue between Horace and Lydia. I had had at that time not the most distant notion of translating the whole of the Odes, or even any considerable number of them, so that in choosing a metre I thought simply of the requirements of the Ode in question, not of those of the rest of its class. Indeed, I may say that it was the thought of the metre which led me to try if I could translate the Ode. Having accomplished my attempt, I turned to another Ode of the same class, the scarcely less celebrated "Quem tu, Melpomene." For this I took a different metre, which happens to be identical with that of a solitary Ode in the Second Book, "Non ebur neque aureum," being guided still by my feeling about the individual Ode, not by any more general considerations. I did not attempt a third until I had proceeded sufficiently far in my undertaking to see that I should probably continue to the end. Then I had to consider the question of a uniform metre to answer to the Latin. Both of those which I had already tried were rendered impracticable by a double rhyme, which, however manageable in one or two Odes, is unmanageable, as I have before intimated, in the case of a large number. The former of the two measures, divested of the double rhyme, would, I think, lose most of its attractiveness; the latter suffers much less from the privation: the latter accordingly I chose. The trochaic character of the first line seems to me to give it an advantage over any metre composed of pure iambics, if it were only that it discriminates it from those alternate ten-syllable and eight-syllable iambics into which it would be natural to render many of the Epodes. At the same time, it did not appear worth while to rewrite the two Odes already translated, merely for the sake of uniformity, as the principle of correspondence to the Latin, the alternation of longer and shorter lines, is really the same in all three cases. Nay, so tentative has been my treatment of the whole matter, that I have even translated one Ode, the third of Book I, into successive rather than into alternate rhymes, so that readers may judge of the comparative effect of the two varieties. After this confession of irregularity, I need scarcely mention that on coming to the Ode which had suggested the metre in its unmutilated state, I translated it into the mutilated form, not caring either to encounter the inconvenience of the double rhymes, or to make confusion worse confounded by giving it, what it has in the Latin, a separate form of its own.

      The remaining metres may be dismissed in a very few words. As a general rule, I have avoided couplets of any sort, and chosen some kind of stanza. As a German critic has pointed out, all the Odes of Horace, with one doubtful exception, may be reduced to quatrains; and though this peculiarity does not, so far as we can see,