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AUTHOR: 
 
 RICHARDSON LEON J 
 
 TITLE: 
 
 HORACE'S ALACAIC 
 STROPHE 
 
 PLACE: 
 
 BERKELEY 
 
 DA TE : 
 
 1907 
 
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UNIVERSITY OF CALIFORNIA PUBLICATIONS 
 CLASSICAL PHILOLOGY 
 
 Vol. 1, No. 6, pp. 175-204 
 
 March 2a, 1907 
 
 HORACE'S ALCAIC STROPHE 
 
 BY 
 
 LEON JOSIAH RICHARDSON 
 
 BERKELEY 
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UNIVERSITY OF CALIFORNIA PUBLICATIONS 
 CLASSICAL PHrLOLOGY 
 
 Vol. 1, No. 6, pp. 175-204 „„ch 23, 1907 
 
 HORACE'S ALCAIC STROPHE 
 
 BY 
 
 LEON JOSIAH RICHARDSON. 
 
 I 
 
 The Alcaic^ strophe as employed by Horace involves the fol- 
 lowing quantities : 
 
 Deseende caelo et die age tibia 
 regina longum Calliope melos, 
 seu voce nunc mavis acuta, 
 seu fidibus citharave Phoebi. 
 
 A. THE ELEVEN-SYLLABLE ALCAIC. 
 
 (Ill, 4, 1-4.) 
 
 (1) What word-arrangements are possible in a line of eleven 
 syllables and how many of them did Horace actually employ ? It 
 is evident that there are two ways of arranging words in a line 
 of two syllables (namely, either monosyllable monosyllable or 
 dissyllable), four ways in a line of three syllables, eight ways in 
 a line of four syllables, and so on. In short, we are able to make 
 out the total possible ways in a given line by means of the for- 
 mula 2 "-» (n being the number of syllables in the line). Thus it 
 appears that in a line of eleven syllables 1,024 different arrange- 
 ments^^ possible. Yet among his 634 examples of A Horace 
 
 ' This meter is found in thirty-seven of Horace's Odes, aggregating 317 
 strophes or 1,268 lines. Ten of these Odes, containing 60 strophes, are in 
 Book I; twelve, containing 86 strophes, are in Book U; eleven, containing 
 118 strophes, are m Book III; and four, containing 53 strophes, are in Book 
 
176 University of California Puhlications. [Class. Phil. 
 
 employed only 117 arrangements, confining himself generally to 
 the 19 that follow: 
 
 1. doctus sagittas tendere Sericas (47 cases) 
 
 2. qiiicunique terrae munere veseimur (46 cases) 
 
 3. laetum theatris ter crepuit sonura (29 cases) 
 
 4. auclire magnos iam videor duces (25 cases) 
 
 5. inutaret umbras et iuga demeret (25 cases) 
 
 6. atqui sciebat quae sibi barbarus (23 cases) 
 
 7. odi profanum volgus et arceo (18 cases) 
 
 8. me iiec Chimaerae spiritus igneae (18 cases) 
 
 9. hie innocentis pocula Lesbii (17 cases) 
 
 10. donee virenti canities abest (17 cases) 
 
 11. O matre pulclira filia pulchrior (16 cases) 
 
 12. robustus acri militia puer (16 cases) 
 
 13. vixi puellis nuper idoneus (15 cases) 
 
 14. delevit urbem Dacus et Aethiops (12 cases) 
 
 15. perire quaerens nee muliebriter (11 cases) 
 
 16. cur me querellis exanimas tuis (11 cases) 
 
 17. temptare multa eaede bidentium (10 cases) 
 
 18. quamquam ehoreis aptior et iocis (10 cases) 
 
 19. favete linguis: carmina non prius (10 cases) 
 
 (2) Horace departed from his Greek models by putting a 
 long syllable almost always in the first space^ and always in the 
 fifth space. See Table VII.=* On the reading of III, 5, 17, see 
 Kiessling's note. 
 
 (3) In its Greek form .1 was without a fixed caesura or diae- 
 resis. But in the Augustan age the "derivation theory" of me- 
 ters held sway (see Gleditsch, Metrik, pp. 70 and 73) and Horace, 
 apparently under its influence, resolved the Eleven- Syllable Al- 
 caic into two phrases of sound, each constant in length. This he 
 did by making a word end regularly in the fifth space. See Table 
 I. Only five exceptions occur: I, 37, 14; IV, 14, 17; I, 16, 21; I, 
 37, 5; II, 17, 21; and in three of these (the last three as cited) 
 the regular division is not wholly absent, falling as it does be- 
 tween the members of a compound word. He admitted syllahor 
 anceps in the final space of A, and hiatus occasionally between A 
 and A or between A and B. See Table V. 
 
 (4) Latin quantitative versification is based on a number of 
 principles, one of which is important for our present purpose; 
 
 2 This term is used to designate any part of a verse occupied by a syl- 
 lable, whether long or short, there being eleven such spaces in A. 
 * The tables are to be found at the close of this paper. 
 
 Vol. 1] Richardson. — Horace's Alcmc Strophe. 
 
 177 
 
 namely, in the initial portion (generally two or more feet) of a 
 verse rhetorical elements should not often coincide with corre- 
 sponding metrical elements. That is to say, coincidence, when it 
 does occur, is generally preceded or followed by non-coincidence. 
 And so it happens, among other things, that successive words 
 seldom fill each a single foot ; successive word-accents usually do 
 not coincide with ictuses; caesuras on the average outnumber 
 diaereses. These facts are hinted at by Quintilian in IX, 4, 90: 
 plerique enim ex commissuris eorum [i.e., verborum] vel divi- 
 sione fiunt pedes; ex quo fit ut isdem verbis alii atque alii versus 
 fiant. The principle under consideration is obeyed in the first 
 and second of the following verses, but disobeyed in the third : 
 
 virginibus Tyriis mos est gestare pharetram. (Verg. Aen. I, 336.) 
 
 quaerere constituit soeiisque exacta referre. (lb. I, 309.) 
 
 sparsis hastis longis campus splendet et horret. (Ennius, Varia 14.) 
 
 Thus we have an important clue to the metrical structure of 
 any given poem. By way of brief illustration, let us suppose that 
 we are trying to discover the meter of the Aeneid. The initial 
 portion of the verses is composed in a great variety of ways, but 
 seldom or never with any of the following word-arrangements : 
 
 denique Caesare. 
 priniae terrae. 
 denique terrae. 
 primo Caesare. 
 
 This is all the more significant because such groups occur often 
 in Latin prose. The fact is, these word-arrangements are not 
 allowed to begin the verse in question because the rhetorical ele- 
 ments would each exactly coincide with corresponding metrical 
 elements throughout more than one foot. The conclusion is there- 
 fore to be drawn that the feet at the outset of Vergil's verse are 
 either dactyls or spondees or both combined. 
 
 We may reach this same result by another method of analysis. 
 Within the initial portion of the verses word-breaks tend to occur 
 at certain points with marked frequency. These points, accord- 
 ing to the principle above described, must be within feet. Other- 
 wise expressed, they must be caesuras. Knowing where the 
 caesuras are located, we are able to differentiate them from diae- 
 reses and so to identify the feet. 
 
University of California Publications. [Class. Phil. 
 
 (5) Verse A is nowadays often divided into feet a.s follows: 
 >:--!-- II ---I --I -A 
 
 But we find in Horace many verses, like 
 
 O inatre piilehra filia pulchrior, 
 
 where there would be an overwhelming correspondence of words 
 and feet. Again, according to the theory represented in this 
 scheme, a trochee would end with the third space, and Vet about 
 half the verses have a break there ; if this were really a diaeresis, 
 the unity and flowing character of the verse would vanish. By 
 this theory, the fundamental foot would be trisemic. despite the 
 fact that most of the feet as represented have syllables that are 
 at variance with such a norm. Furthermore the line would begin 
 with anacrusis, which is here unsupported by any genuine evi- 
 dence. In short, this interpretation of Horace's verse rests on no 
 direct ancient authority, it disregards well established laws of 
 cpiantitative verse structure, and altogether is a false guide for 
 those who would read the Alcaic strophe in the manner intended 
 by the Roman poet. 
 
 (6) Ijet us now regard what we have called the first phrase of 
 verse .4 and analyse it according to the method outlined in section 
 
 4 above. 
 
 First Space. In 119 verses this space is occupied by a mono- 
 
 syllabh. 
 
 Second Space. ( - - ) In 291 verses a break occurs after this 
 space. Among these cases the break is preceded by : 
 
 a dissyllable 211 times 
 
 j8 monosyllable monosyllable 80 times 
 
 Third Space. {^ - -) In 308 verses a break occurs after this 
 space. Among these cases the break is preceded by : 
 
 a trisylkible 199 times 
 
 /3 monosyllable dissyllable 67 times 
 
 7 dissyllable monosyllable 33 times 
 
 5 three monosyllables 9 times 
 
 The fact that Horace allows words to end here with great fre- 
 quency is significant. It implies that the l)i'eak after the third 
 space is a caesura. This and the sequence of quantities involved 
 
 Vol. 1] 
 
 Richardson. — Horace's Alcaic Strophe. 
 
 179 
 
 point to iambic movement at the outset of A. Significant also 
 are the difi:'erent degrees of favor represented in the numbers 67 
 and 33. which result in part from the fact that an iambic move- 
 ment is thrown into less bold i-elief^ by cases under p than by 
 those under y. 
 
 Fourth Space. (- ) In 53 verses a break occurs after 
 
 this space. Among these cases the break is preceded by : 
 
 a qnadrisyllable 4 times 
 
 (i trisyllable monosyllable 22 times 
 
 7 monosyllable trisyllable 10 times 
 
 5 dissyllable dissyllable 3 times 
 
 e monosyllable dissyllable monosyllable 9 times 
 
 f monosyllable monosyllable dissyllable 5 times 
 
 T] (lissyllable monosyllable monosyllable times 
 
 $ four moitosyllables times 
 
 The cases under a are II, 17, 6 ; III, 5, 10 ; 21, 10 ; IV, 4, 69. Two 
 of them, at least, may be neglected: in III, 5, 10, the quadrisyl- 
 lable exists only so far as results from an elided pentasyllable; 
 in IV, 4, 69, the verse begins Carthagini iam, where the noun and 
 particle are closely joined and the effect is much the same as 
 though the fii-st phrase of A embraced a single pentasyllabic 
 word. The rarity of quadrisyllables at the outset of verse A, 
 taken in connection with the succession of quantities, is an indi- 
 cation of iambic movement. Noteworthy also are the different 
 degrees of favor represented in the numbers 22 and 10, an iambic 
 movement being thrown into less bold relief by cases under p 
 than by those under y. The unwelcome character of the cases 
 under 8 is made evident not only by their rarity but also by the 
 
 * An iamb is thrown into relief when it is occupied by a dissyllable, or by 
 two monosi/Uables; a diiamb when it is occupied by: 
 
 a quadrisyllable. 
 
 b dissyllable dissyllable. 
 
 c dissyllable monosyllable monosyllable. 
 
 d monosyllable monosyllable dissyllable. 
 
 e monosyllable dissyllable monosyllable. 
 
 f monosyllable trisyllable. 
 
 g trisyllable monosyllable. 
 
 h four monosyllables. 
 
 As a rule, it is less objectionable to throw into relief the anlaut than the 
 auslaut of a foot. A break after the penultimate syllable of the foot has a 
 tendency to render less objectionable a break after the auslaut. Conse- 
 quently, c and e are less objectionable than d; and g less objectionable 
 than f. 
 
 I 
 
180 
 
 University of California Publications. [Class. Phil. 
 
 way they are disguised when they do occur. In III, 29, 5, the 
 first of the pair exists only so far as results from an elided trisyl- 
 lable. In I, 16, 21, the pair arises from two elided trisyllables. 
 The verse has no break after the fifth space. In I, 37, 5, the first 
 of the pair arises from a trisyllable affected by synizesis. This 
 verse also omits the usual break after the fifth space. In short, 
 no real ease of two dissyllabic words beginning a verse is found. 
 This is strong evidence of an iambic movement. Pointing in the 
 same direction is the fact that cases under c outnumber those 
 
 under C and r). 
 
 Fifth Space. (-^- ) In 629 verses a break occurs after 
 
 this space. Among these cases the break is preceded by : 
 
 a pentcLHyllahle 21 times 
 
 /3 quadrisyllable monosyllable 4 times 
 
 7 monosyllable quadrisyllable 42 times 
 
 S trisyllable dissyllable 176 times 
 
 e dissyllable trisyllable 175 times 
 
 f trisyllable monosyllable monosyllable 20 times 
 
 ly monosyllable trisyllable monosyllable 10 times 
 
 monosyllable monosyllable trisyllable 66 times 
 
 t dissyllable dissyllable monosyllable 1 time 
 
 K dissyllable monosyllable dissyllable 33 times 
 
 X monosyllable dissyllable dissyllable 58 times 
 
 fi dis,<iyllable monosyllable monosyllable mo- 
 nosyllable times 
 
 V monosyllable dissyllcible monosyllable mo- 
 nosyllable 9 times 
 
 J monosyllable monosyllable dissyllable mo- 
 nosyllable 5 times 
 
 o monosyllable monosyllable monosyllable dis- 
 syllable 9 times 
 
 ir five monosyllables times 
 
 That verse A begins with iambic meter is evidenced by the char- 
 acter of the monosyllables falling in the fifth space. Table IV 
 shows 49 such cases. The resulting break after the fourth space 
 is generally bridged over and softened by some of the following 
 usages: (a) In twelve cases elision takes place, being located as 
 in the following example : 
 
 duke et decorwm est pro patria mori. 
 
 (Ill, 2, 13.) 
 
 Vol. 1] 
 
 Richardson. — Horace*s Alcaic Strophe. 
 
 181 
 
 (b) In twenty-nine eases the break in question is concealed by 
 another break after the third space. Thus the metrical phrase 
 closes with two monosyllables. One of them is not infrequently 
 a proclitic or an enclitic, which also serves to lessen the promi- 
 nence of the break after the fourth space, as in 
 
 diicentis ad se eimcta pecuniae. 
 
 (IV, 9, 38.) 
 
 (c) Only a few cases remain, and in some of them the monosvl- 
 lal)le and the preceding word are closely knit together, as in 
 
 iamdudum apud me est. eripe te morae. 
 
 (Ill, 29, 5.) 
 
 Again, significant of iambic meter is the fact that eases under 
 y SO greatly outnumber those under ^ ; that 6 outnumbers ^ ; that 
 ^ outnumbers -q : that A outnumbers k ; that v and o outnumber t 
 and ^ ; that 8 and € are strongly in favor. 
 
 If the first phrase of A (five syllables) is compared with what 
 precedes the main caesura in the iambic trimeter of Horace's 
 Epodes (normally five syllables), the words occurring in one case 
 will be found to accord with those in the other as regards their 
 form, length, and arrangement. This is well illustrated by Epode 
 III, where the word-arrangements in verses free from substitu- 
 tions are typically : 
 
 --I 
 
 -l-l 
 
 (7) The following points are to be noted for the light they 
 throw on the nature of the rhythm in the second phrase of A : 
 
 (a) Breaks within the phrase occur freely after the sixth, 
 seventh, eighth, and ninth spaces, most freely, however, after the 
 eighth. (Table I.) 
 
 (b) The favorite combinations of words within the phrase 
 are, in order of preference, as follows : 
 
 
University of California Fuhlicationa. r^i-^s^-^""- 
 
 tntiyllable trisyllable, • 
 m onosylltt h le t risyllable d insyllab le, 
 monosyllable <lissyllable trisyllable, 
 q Hadriftylla b le dissyllable, 
 disylluble qumlrisyllable. 
 
 (Table III.) 
 
 ((') Monosvllables are abimdant in the sixth space alone. 
 Only seven times does a verse end with a ni()nosyllHl)le and in 
 six of these eases the elTeet is veiled. That is to say. in II. 11, 13, 
 the monosyllable is preceded by anotlier monosyllable, as some- 
 times occurs at the close of the dactylic hexameter or pentameter. 
 In I, 9. 13 ; II, 15, 5 : IIL 26, 9 ; 29, 9 ; and 49 there is elision. But 
 in IV, 9, 1, the monosyllable stands out boldly after a pentasyl- 
 lable, an effect that is probably intended to reinforce the strikin^^ 
 character of the thouj?ht. 
 
 (d) Dissyllables end freely in the seventh or eleventh space. 
 
 {(') Trisyllables end freely in the eighth, or eleventh space. 
 
 (/■) Quadrisyllables end freely in the ninth or eleventh space. 
 
 (g) IVntasyllables and hexasyllables occur occasionally at the 
 close of the verse. 
 
 The conclusion to be drawn from this evidence is as follows: 
 The poet's feeling' has not led him to treat the second phrase in 
 the same manner as he did the first. He has not here studiously 
 avoided the coincident termination of word and foot, since breaks 
 occur freely at all points, except after the tenth space, an excep- 
 tion due to the fact that monosyllables are not welcome in final 
 position. 
 
 (8) We are now in a position to make out the meter of the 
 whole verse. As regards the first phrase, it has been show^n that 
 words are frequently chosen and arranged according to the fol- 
 lowing divisions : 
 
 We rarely find 
 
 — 1__ 
 --I — 
 
 1- 
 
 Vol. 1] Eichardson. — Horace's Alcaic Strophe, 
 
 183 
 
 The meter, therefore, is iambic in character. But what is the 
 particular form of the feet ? Do the first four syllables constitute 
 two iambs or one diianib? If these syllables appeared character- 
 istically as ------ there would l)e ground for recognizing two 
 
 iambs, but as a matter of fact the> are normally — - - (only 
 nineteen verses begin — - -) and the conclusion is inevitable 
 that A begins with a diiamb. 
 
 A verse by its very nature has unity, which implies that it 
 embraces homogeneous elements. Therefore, since the first phrase 
 of A contains a diiamb plus one syllable, it is probable that this 
 syllable introduces a second metrical division, not necessarily 
 identical with the first, but similar in kind and conuuensurate in 
 duration. Keeping in mind that a diiamb is quadrisyllabic and 
 in effect hexasemic, we find that a foot having these two prop- 
 erties is made up by the syllables in the fifth, sixth, seventh, and 
 eighth spaces. Moreover, it assumes the form of a foot to which 
 ancient writers on metric frequently refer, namely, a major ionic 
 ( ). 
 
 Three syllables remain, long short long, respectively, and they 
 in turn answer the conditions of a quadrisyllabic hexasemic foot, 
 one, however, that has been modified by catalexis in the final 
 cadence of the verse. In acatalectic form this foot would appar- 
 ently be a ditrochee, as may be gathered from the Twelve-Syllable 
 Alcaic cited by Hephaestion {Ench., XIV, 4. C.) : 
 
 IottXok ^ dyva, /xcAAt^o/w-ctSe ^air^ol. 
 
 With this verse (= Alcaeus fr. 34) compare: 
 
 OfXio Ti fciirqv^ aXXa fie kwAvci aiScos. Alcaeus fr. 19. 
 KOiXwi/v'xwv iTnrwv Trpvraviq [Iloo-ctSav] . Stesichorus fr. 21. 
 
 Verse A, then, may be classed as an Epionic Trimeter Catalectic 
 and is to be represented thus : 
 
 a reader being always at liberty to treat the last foot as - - - ,. 
 This conclusion is not only supported by ancient authority,'^ 
 
 ^Hephaestion {Ench. XIV, 3. C.) describes A in its Greek form as follows: 
 
 Eiriwi/i/cdi' 5^ dxb fiel^ovos rpifierpov KaraXriKTiKdp iari^ rd KaXoOfievov 'AXKaiKbv 
 
 iv5€Ka<rO\\a^v, 6 rijv fiJtv irpdrryiv (Tv^vylav Ix" la/x^iK'^v^ ijroi i^dffrjfwv ij 
 
 hrrdarifiov^ rijv di Scirr^pav Iuviktjv drb fiei^ovos ^ bevripav vauaviKi^v, tt)v 5k 
 
 xard/cXetSa iK rpoxo-^ov Kal ttjs ddia<p6pov. 
 
184 University of California Publications. [Class. Phil. 
 
 but corroborated by niniieroiis parallels in allied verse forms; for 
 
 example, the initial motive" ---^is found in Pindar, 
 
 Xemea, 1, str. 2 and 4 ; V, str. 5 ; Isfh., I, str. 5 ; VI, str. 1 ; fr. 29, 
 1; fr. 122, 1; fr. 124^ 1; Bacchylides, VIII, ep. 1 ; XI, 1 and 8; 
 XIV, ep. 1 ; €t passim . The final motive ' ^ - is also abun- 
 dant; see for example Christ, Metrik, section 627. This motive 
 in acatalectic form is fcmnd in Sappho, fr. 50; Pindar, fr. 75. 4; 
 Eurip., Medea, 151-3; and elsewhere. 
 
 B. THE NINE-SYLLABLE ALCAIC. 
 
 (1) There are 256 possible ways of arran^'in^ words in a verse 
 of nine syllables. In this Alcaic, however, Horace employed only 
 48, confining himself as a rule to the 10 following: 
 
 1. eantemus Aiigiisti tropaea (60 cases) 
 
 2. rugis et instanti senectae (26 cases) 
 
 3. ciii laiiriis aeternos honores (26 cases) 
 
 4. redegit in veros timores (21 cases) 
 
 5. oblitus aeternaeque Vestae (20 cases) 
 
 6. quantis fatigaret minis (17 cases) 
 
 7. excepit ictus pro pudicis (15 cases) 
 
 8. non Seres infidive Persae (13 cases) 
 
 9. sortitur insignis et imos (12 cases) 
 
 10. sumptii iubentes et deorum ( 8 cases) 
 
 (2) The metrical character of this verse is revealed in what 
 follow^s: 
 
 First Space. In 84 verses the initial w^ord is a monosyllable. 
 Horace departed from his Greek models by putting a long syl- 
 lable almost always in this space. See Table VII. 
 
 Second Space. (^ -) In 83 verses a break occurs after this 
 space. Among these cases the break is preceded by : 
 
 a dissyllable 75 times 
 
 /3 monosf/llable monosifllnble 8 times 
 
 Third Space. (=^ - -) In 259 verses a break occurs after 
 this space. Among these cases the break is preceded by : 
 
 a trisyllable 155 times 
 
 /3 monosyllable dissyllable 65 times 
 
 7 dissyllable monosyllable 35 times 
 
 8 three monosyllables 4 times 
 
 • This term motive is used to designate any dcminant metrical design or 
 ■equence. 
 
 Vol. 1] Richardson.— Horace's Alcaic Strophe. 185 
 
 Evidences of iambic movement are seen in the sequence of 
 quantities, the great frequency of breaks after the third space, 
 the frequency of trisyllables as shown in a, and the fact that ^ 
 outnumbers y. 
 
 Fourth Space. (^ - ^ -) in 51 verses a break occurs after 
 this space. Among these cases the break is preceded by : 
 
 a quadrisyllable q times 
 
 ^ trisyllable monosyllable 34 times 
 
 7 monosyllable trisyllable 2 times 
 
 5 dissyllable dissyllable times 
 
 € monihsyllable dissyllable monosyllable 13 times 
 
 f monosyllable monosyllable dissyllable times 
 
 17 dissyllable monosyllable inojiosylkible 2 times 
 
 four monosyllables q times 
 
 Evidences of iambic movement are seen in the sequence of 
 quantities, the infrequency of breaks after the fourth space, the 
 facts under a and 8, the way jS outnumbers y, and the way c out- 
 numbers C 
 
 Fifth Space. (- - ^ - -) i„ 52 verses a break occurs after 
 this space. Among these cases the break is preceded by : 
 
 a pentasyllable 3 times 
 
 /8 monosyllable quadrisyllable 5 times 
 
 7 quadrisyllable monosyllable times 
 
 5 trisyllable dissyllable 23 times 
 
 t dissyllable trisyllable 12 times 
 
 f monosyllable monosyllable trisyllable 1 time 
 
 77 trisyllable monosyllable monosyllable times 
 
 monosyllable trisyllable monosyllable 1 time 
 
 t monosyllable dissyllable dissyllable 5 times 
 
 K dissyllable monosyllable dissyllable 1 time 
 
 X dissyllable dissyllable monosyllable times 
 
 fit dissyllable monosyllable monosyllable mo- 
 nosyllable times 
 
 y monosyllable dissyllable monosyllable mo- 
 nosyllable times 
 
 { monosyllable monosyllable dissyllable mo- 
 nosyllable times 
 
 o monosyllable monosyllable monosyllable dis- 
 
 •'^2/'«*'« 1 time 
 
 IT five monosyllables q times 
 
 Evidences of iambic movement are seen in a comparison of p 
 and y, of « and c, and of i, k, and A. The relatively small number 
 
186 
 
 University of Calif omia Publications. [Class. Phil. 
 
 of breaks after the fifth space makes it clear that this verse is not 
 divided into set phrases of sound. Thus B, though beginning 
 with the same quantities as ^, has a different opening cadence. 
 Kiessling pointed out that when a word ends in the fifth space, 
 the effect of the break is generally subdued by the presence of a 
 monosyllable in the sixth space. This feature affords a good ex- 
 ample of the way Horace's art underwent change. In Book I 
 four verses have a word ending in the fifth space without a fol- 
 lowing monosyllable (16, 3; 26, 7; 29, 11; 35, 11). In Book II 
 there are seven such verses (1, 11 ; 3, 3 ; 13, 27 ; 14, 11 ; 19, 7 ; 19, 
 11; 19, 19). In Books III and IV they disappear altogether. 
 Since words seldom end in the fourth or fifth space, a monosyl- 
 lable is not likely to occur often in the fifth space. Only one 
 example is found, namely et in II, 3, 27, and this is neutralized 
 by elision. Owing to the general avoidance of words ending in 
 the fifth space, only two verses end with a quadrisyllable (II, 3, 
 3; 19, 19) and only eight end with two dissyllables (I, 16, 3 ; 26, 
 7 ; 29, 11 ; II, 1, 11 ; 13, 27 ; 14, 11 ; 19, 7 ; 19, 11). It is an inter- 
 esting fact, as Mr. Page points out, that in six of these cases the 
 first dissyllable of the pair is repeated at the outset of the suc- 
 ceeding verse. For example : 
 
 Alcaee, plectro dura navis, 
 dura fugae mala, dura belli. 
 
 (II, 13, 27-28.) 
 
 Horace departed from his Greek models by putting invariably 
 a long syllable in the fifth space. 
 
 Sixth Space. (^ - ) In 251 verses a break occurs 
 
 after this space, a mark of iambic movement, for toward the close 
 of such a verse the usages of diaeresis and caesura undergo a 
 change, breaks after the even syllables becoming numerous. 
 
 The favorite combinations of words at the close of a verse are, 
 in order of preference : 
 
 trisyllahle trisyllable ^ 
 monosyllab le dissyllab le, 
 monosyllable trisyllable. 
 
 (Table III.) 
 
 VoL.1] Richardson.— Horace's Alcaic Strophe. 
 
 187 
 
 Words of more than three syllables occurring in this verse are 
 interesting as regards both their rarity and their position. Only 
 one hexasyllable occurs and that ends in the seventh space. 
 Among 11 pentasyllables, 3 end in the fifth space, 3 in the sixth," 
 and 5 in the seventh. Among 69 quadrisyllables, 5 end in the 
 fifth space, 26 in the sixth, 36 in the seventh, and 2 in the ninth. 
 Thus these polysyllables tend to occur in the middle of the verse. 
 (3) By a process of reasoning similar to that followed on 
 p. 177 ff., it appears that Horace felt the rhythm of the first four 
 syllables as a foot in the shape of a diiamb. Especially signifi- 
 cant is the fact that not a single verse has a word ending in the 
 fourth space unless it be a monosyllable or trisyllable. The next 
 four syllables also conform to a diiamb. 
 
 This foot, it should be remembered, occurs in Alcaeus and 
 
 Sappho both as and ^ . The extreme rarity of 
 
 the latter form in Horace's alcaic strophe may be due to the 
 abiiiidance of long .syllables in Latin, to the fact that this form 
 by itself is metrically ambiguous, being either a quadrisyllabic 
 foot or two dissyllabic feet, and to the fact that the gravitas Ro- 
 mana with which Horace invested his Odes is better served by the 
 form of the diiamb containing three long syllables. In reading 
 the foot - - ^ - it does not stand to reason that the ancients 
 consciously shortened the initial syllable. Any positive reduction 
 in length at this point would often confuse the sense. For ex- 
 ample, shortening the initial syllable of canes (Hhou art hoary'), 
 which might conceivably be the word concerned, would result in 
 canes ('dogs'). The same applies to scores of words subject to a 
 similar change of meaning, should the first syllable be shortened. 
 
 The fact that ^ - is in effect a hexasemic foot is rather to 
 
 be explained on other grounds. To be sure, this diiamb, when 
 exactly measured, seems to be overlong to the extent of a nwra; 
 but since the overlength is in the first syllable of the foot, and 
 since the compass of the foot is large, the excess is neither enough 
 nor in a position to unbalance the rhythm. Compare in this con- 
 nection the ditrochee, which is also hexasemic in effect and fre- 
 quently has three long syllables (- ) , thus being overlong 
 
 in the last syllable of the foot. 
 
I 
 
 II 
 
 ! 
 
 lob 
 
 University of California Publications. [Class. Phil. 
 
 The final syllable of this verse remains to be accounted for. 
 According to some scholars (Masqiieray: Metrique, section 276, 
 Gleditsch: section 150, 3), B and C of the Greek Alcaic strophe 
 are held to be in effect one long verse. However that may be, 
 Horace certainly felt B and C as separate verses, as is shown by 
 the fact that he admitted sijllaba anceps at the close of B, as well 
 as interverse hiatus between B and C (Table V). According to 
 O. Schroeder {Berl Philol. Wockenschr., 1904, Nr. 51), B is an 
 iambic pentapody (Funfheher), the final syllable representing an 
 
 laniii. 
 
 The conclusions reached in this paper support the view held 
 by Kiessling and many othere, namely, that B is hypercatalectic. 
 The transition from the ascending rhythm of this verse to the 
 descending rhythm of C is facilitated by the extra syllable, just 
 as is the case in the following examples : 
 
 ---',- Bacchyl. VII, b. 14-15. Cf. XI, 2-3. 
 
 _^__l_^. « XII, 8tr. 2-4. Cf. ep. 3-4. 
 
 ^^ -■mm'' ^^ -rngfH' 
 
 ---- y---- r- n XVIII, str. 1-2. 
 
 
 ^ XIII, ep. 6-7. 
 
 « VIII, str. 8-9. Cf. ep. 3-4. 
 
 Especially significant are the following : 
 
 Bacchyl. XIV, str. 3-5. 
 
 Cf. Pindar, fr. 124', 1-2; fr. 126, 1-2. 
 
 Bacchyl. XIV, ep. 1-3. 
 Cf. Pindar, fr. 122, 1-3. 
 
 In the last example line 1 nearly equals A, line 2 equals B, line 3 
 is like C in having a descending rhythm part of which is trochaic. 
 It seems fair to say that line 2 (which equals B) is an Iambic 
 Dimeter Hypercatalectic (not a pentapody), since the next to the 
 
 I;-! 
 
 Vol. 1] Richardson. — Horace's Alcaic Strophe. 
 
 189 
 
 last example clearly shows that a dimeter may legitimately occur 
 in this metrical context. 
 
 Verse B, then, may be classed as an Iambic Dimeter Hyperca- 
 talectic and is to be represented thus : 
 
 ~ ""' ~" I ^ — ^ 
 C. THE TEN-SYLLABLE ALCAIC. 
 
 (1) There are 512 possible ways of arranging words in a 
 verse of ten syllables. In this Alcaic the poet employed but 51, 
 confining himself as a rule to the 10 following : 
 
 1. egit eqiios volucremqne enrnim (49 eases) 
 
 2. (livitiis potit^tur heres (36 cases) 
 
 3. vis rai)uit ra{)ietque gentis (33 cases) 
 
 4. {Hirpiireo variiis colore (27 cases) 
 
 5. levia personiiere saxa (18 cases) 
 
 6. Pegasus expediet Chimaera (16 cases) 
 
 7. fronde nova puerum palumbes (13 cases) 
 
 8. Deliiis et Patareus Apollo (13 cases) 
 
 9. poniifero grave tempus anno (13 cases) 
 
 10. in doniini caput inmerentis (11 cases) 
 
 (2) The metrical character of this verse is revealed in the 
 following analysis : 
 
 First Space. In 69 verses this space is occupied by a mono- 
 syllable. 
 
 Second Space. (- -) In 101 verses a break occurs after 
 this space. Among these cases the break is preceded by : 
 
 o dis.syllable 99 times 
 
 /8 monosyllable monosyllable 2 times 
 
 Third Space. (-----) In 79 verses a break occurs after 
 this space. Among these cases the break is preceded by : 
 
 a trisyllable 60 times 
 
 ^ monosyllable dissyllable 9 times * 
 
 7 dissyllable monosyllable 10 times 
 
 d three monosyllables ....: times 
 
 Dactylic meter is here suggested, for an initial trisyllable 
 occurs less frequently than an initial dissyllable (99 cases) (com- 
 pare A and B). and /3 and y enjoy virtually equal favor (com- 
 pare A and B). 
 
 II 
 
1,1 
 
 190 University of California Puhlimtions. [Cl^ss. Phil. 
 
 Fourth Space. ( ) lu 252 verses a break occurs 
 
 after this space. It is preceded by : 
 
 a quadrisyllable ^' *""^^ 
 
 /} dissyllable dissyllable 81 times 
 
 7 monosyllable trisyllable 55 times 
 
 S trisyllable monosyllable 20 times 
 
 e other combinations ^ **™®® 
 
 The unequal favor enjoyed by y and 8 points to dactylic njeter. 
 
 Fifth Space. {- ) In 14 verses a break occurs after 
 
 this space It is preceded by trisyllabic dissyllable four times. 
 A break after the fifth space falls between two short syllables and 
 is so situated in the verse as to produce a weak effect, which seems 
 to account for its infrequency. 
 
 Sixth Space. ( ) In -y^ verses a break occurs 
 
 after this space. It is never preceded by hcxasyllahle, and by 
 tnsyllahlv trisyllable but once, namely, in IV, 4, 72, where the 
 second trisyllable exists only so far as arises from an elided quad- 
 risyllable. This is stron^^ evidence of dactylic meter. 
 
 Seventh Space. ( — '--) In 112 verses a break occurs after 
 
 this space. It is never preceded by either trisyllable trisyllable 
 rnonosyllahle or hexasyllablc monosyllable, which points to dac- 
 tylic meter. The general conclusion to be drawn from the fore- 
 c.^oin*r points is that Horace felt the first six syllables of C as two 
 dactylic feet. Since words are seldom allowed to end in the fifth 
 or sixth space, polysyllables are barred, as a rule, from bejrinnin^ 
 in the sixth or seventh space and, therefore, tend to gravitate to 
 the initial or middle parts of the verse. 
 
 The usual combinations of words at the close of the verse are, 
 
 in order of preference : 
 
 quadrisyllable dissyllable, 
 
 trisyllable trisyllable, 
 
 dissyllable dissyllable, 
 
 quadrisyllable trisyllahle. (Table III.) 
 
 (3) We are now in a pasition to identify the meter through- 
 out the whole verse. Hephaestion (quoted by Gleditsch, p. 173 
 ff.) applies the term logaoedic to dactylic or anapaestic verses in 
 whose initial or final parts (or both) the arses consist, not of pairs 
 of short syllables, but of single short ones. He cites C as an ex- 
 
 VOL. 1] 
 
 Richardson. — Horace's Alcaic Strophe. 
 
 191 
 
 ample {Euch., VII, 8, C). By reading the dactylic dipody with 
 a more rapid tempo than is given the final ditrochee the time 
 relations of the verse are as a whole kept true (see Westphal: 
 Ally. Metrik d. Gr., Ill, 1, p. 366; Masqueray: p. 328; Gleditsch: 
 section 142). Compare in this connection the substituted ana- 
 pae.sts and dactyls in Horace's Epodes; these feet, which are ordi- 
 narily tetrasemic, are there given trisemic values. Further light 
 is thrown on the metrical structure of C by the following verses, 
 some of which are logaoedic and some trochaic : 
 
 {::-• 
 
 y _3>^I3ir 
 
 Hybrias {Anth. Lyr. p. 
 275). 
 
 Bacchyl. fr. 20, str. 2; 
 cf. XV, str. 4. 
 
 Simonides, fr. 57. 
 
 Aristoteles, fr. 5, 15. 
 
 Simonides, fr. 30. 
 
 Praxilla, fr. 5; cf. 
 Bacchyl. XV, str. 5. 
 
 
 Alcman, fr. 5, str. 9-14. 
 
 Here - ^ ^ and - ^ seem to be made equivalent in time value. 
 This is especially evident in the alternative forms of the same 
 verse (included within braces). Examples a-y end somewhat like 
 C, 8-^ quite in its manner. A line having the exact form of C 
 concludes three of the strophes in Alcman, fr. 5 ; it occurs also in 
 Ibyeus, frr. 1, 9 ; 8c, 1 ; 8e, 1 ; 13, 4 ; 15, 2 ; Bacchyl., IV, str. 6 ; and 
 eighteen passages of Greek dramatic poetry cited by W. Christ : 
 Grundfragen der m^lischen Metrik der Griechsn, Abhandl. der 
 Akad. der Wissensch., Philos.-philol. CI., Munchen, 1902, 270f. 
 It is found to follow iambic and other kinds of verses ; not infre- 
 quently it is used to conclude a strophe. Since strophes having 
 a distinct kind of verse as clausula are abundant, nothing stands 
 in the way of our taking as a logaoedic verse in the shape of a 
 
 \i 
 
192 
 
 Universittj of California Publications. [Class. Phil. 
 
 dactylie dipody followed by a ditrochee. It may be termed a 
 Dactylotroehaie Dimeter/ being represented thus: 
 
 *»< ^^ ^ 1 
 
 THE STROPHE AS A WHOLE. 
 
 The poet's feelinjr for the strophe as a whole is reflected in 
 
 the following points : 
 
 (1) Elision occurs 69 times in the first verse of the strophe, 
 59 times in the second, 38 times in the third, and 31 times in the 
 final verse. Interverse elision occurs twice (II, 3, 27-28; III, 29, 
 
 Ot)-OU ) . 
 
 (2) Since interverse hiatus works against the unity and even 
 flow of the strophe, we should expect to find it occurring less and 
 less often as Horace 's art develops. Such turns out to be the fact, 
 as appears in Table V. 
 
 (3) Sense-pauses are numerous within the first vei^e of the 
 strophe, still more so in the second, infrequent in the third, and 
 rare in the fourth. The majority are not coincident with the 
 main rhythmical pauses, the sense being made to run on from 
 verse to verse, and strophe to strophe. 
 
 (4) Long words tend to occur in the latter part of ^1, but in 
 the middle of B and of C. Furthermore, as regards word-lengths 
 and combinations of words, Tables II and III show that (1) each 
 verse has different habits of beginning and ending (the extremes 
 of B, however, do not differ greatly) ; (2) A has characteristic 
 ways of beginning, B has others, C still others; (3) much the 
 same may be said of their closing, the final effects of the clausula, 
 however, being especially well differentiated from those of the 
 
 other verses. 
 
 (5) We may here consider the question whether the Alcaic 
 strophe of Book IV differs materially from that of Horace ^s 
 earlier work. A comparison shows results somewhat as follows : 
 Type 1, as recorded on p. 176, occurs in Book IV ten times, type 
 2 eleven times, type 3 once, type 4 not at all, type 5 twice, type 6 
 once, type 7 «ix times. In short, it turns out that certain forms 
 
 ^Justification for bringing two dactyls within one meter is found in 
 Gleditsch: section 65, 1, fin. 
 
 Vol. 1] 
 
 Richardson. — Horace's Alcaic Strophe. 
 
 193 
 
 of verse abundantly represented in Books I-III are relatively 
 much less frequent in Book IV, and vice versa, the general result 
 being that in the poet's later work the range of lyric effects is 
 somewhat narrower. The bold and exceptional features of the 
 strophe, cited passim in the foregoing pages, point to the same 
 conclusion, since they are in large measure confined to Books 
 I-III. Light is sometimes thrown on the date of an Ode's compo- 
 sition by tests along these lines. 
 
 (6) The location of the ictus is a matter not so easily deter- 
 mined as the form of the feet. However, we seem to be war- 
 ranted in holding that an ictus belonged to each foot, and that if 
 it belonged to the first half of a given foot, it belonged to the same 
 half of all the feet alike. An ictus hardly belonged to the final 
 two syllables of the major ionic (--^-) or the dactylic dipody 
 (______)_ This leads one to infer that in each foot the ictus be- 
 longed to the first half. The interpretation of the Seikilos in- 
 scription and Anonymus Bellermannius, section 85, given by F. 
 Blass {Hermes, 35 [1900], 342; Neiw Jahrb. Mass. Altertum, 3 
 [1899] , 42) points to the first half of a diiamb as the place of the 
 ictus. 
 
 (7) The strophe as a whole may be represented, from the 
 standpoint of reading, thus: 
 
 A 
 A 
 B 
 C 
 
 »-^ == A 
 
 _._X__.X,^-A 
 
 *^' _i_ 
 
194 
 
 University of California Publications. [Class. Phil. 
 
 TABLE 1. 
 
 The number of times that a word ends at any given point in 
 the strophe is shown in the following table. For example, among 
 the 634 verses included under .4, 199 begin with a monasyllable, 
 291 are so composed that a word ends with the second space, 308 
 with the third space, and so on. 
 
 A... 
 
 B... 
 C... 
 
 1st 
 
 spatw 
 
 199 
 
 84 
 69 
 
 2nd 
 space 
 
 291 
 
 83 
 
 101 
 
 3rd 
 space 
 
 308 
 
 259 
 
 79 
 
 4th 
 space 
 
 53 
 
 51 
 
 252 
 
 5th 
 space 
 
 629 
 
 52 
 
 14 
 
 6th 
 space 
 
 202 
 251 
 
 52 
 
 7th 
 space 
 
 144 
 
 102 
 
 112 
 
 8th 
 Rpiie« 
 
 346 
 
 10 
 199 
 
 9th 
 space 
 
 242 
 
 317 
 
 
 
 10th 11th 
 space space 
 
 7 634 
 
 317 
 
 Elided syllables are neglected, sententia, for example, with a elided, 
 being counted as a trisyllable. The enclitics -que, -ve, -ne are not treated as 
 separate words, inversique being counted as a quadrisyllable. Other enclitics 
 and proclitics appear separately in the tables, owing to the difficulty of estab- 
 lishing a clear line of demarcation between these words and those that are 
 really independent. But in drawing inferences concerning metrical structure 
 the character of the words involved has, wherever possible, been taken into 
 
 account. 
 
 The Kiessling text of Horace (edition of 1890) is the basis of these in- 
 vestigations. Pindar is cited according to the edition of Schroeder 1900, 
 Baechylides according to the edition of Blass 1905, other Greek lyric poets 
 according to the Hiller-Crusius edition of Bergk's Anthologm Lyrica 1901. 
 
 Vol. 1] 
 
 Richardson. — Horace's Alcaic Strophe. 
 
 195 
 
 TABLE II. 
 
 Summary of word-lengths at the beginning of all four verses. 
 
 1 
 
 2 
 3 
 
 4 
 5 
 6 
 7 
 
 8 
 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 19 
 20 
 21 
 22 
 23 
 24 
 25 
 26 
 27' 
 28 
 
 29 
 
 In A 
 80 
 67 
 10 
 42 
 
 
 
 33 
 3 
 175 
 
 
 
 22 
 176 
 1 
 
 
 4 
 
 
 
 
 
 9 
 6 
 3 
 2 
 
 1 
 
 InB 
 
 8 
 65 
 
 9 
 
 5 
 
 3 
 1 
 
 35 
 
 12 
 23 
 5 
 
 34 
 23 
 77 
 21 
 
 
 
 
 
 
 
 2 
 1 
 
 
 
 
 
 InC 
 
 2 
 
 9 
 55 
 
 2 
 
 
 
 1 
 10 
 81 
 
 1 
 
 
 
 4 
 
 3 
 20 
 
 4 
 
 1 
 
 17 
 18 
 
 3 
 17 
 29 
 36 
 
 9 
 
 id 
 
 
 2 
 
 
 
 
 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 verses begin 
 
 * monosyllable monosyllable. ' 
 
 * monosyllable dissyllable. ' 
 
 * monosyllable trisyllable. ' 
 
 ' monosyllable quadrisyllable. ' 
 '■ monosyllable pentasyllable. ' 
 
 * monosyllable hexasyllable. ' 
 ' dissyllable monosyllable. ' 
 
 * dissyllable dissyllable. ' 
 
 * dissyllable trisyllable. ' 
 
 ' dissyllable quadrisyllable. ' 
 
 * dissyllable pentasyllable. ' 
 '■ dissyllable hexasyllable. ' 
 
 ' trisyllable monosyllable. ' 
 ' trisyllable dissyllable. ' 
 ' trisyllable trisyllable. ' 
 ' trisyllable quadrisyllable. ' 
 ' trisyllable pentasyllable. ' 
 
 * quadrisyllable monosyllable. ' 
 ' quadrisyllable dissyllable. ' 
 
 ' quadrisyllable trisyllable. ' 
 
 * quadrisyllable quadrisyllable. ' 
 ' quadrisyllable pentasyllable. ' 
 
 * quadrisyllable hexasyllable. ' 
 
 * pentasyllable monosyllable. ' 
 ' pentasyllable dissyllable. ' 
 
 * pentasyllable trisyllable. ' 
 
 * pentasyllable quadrisyllable. ' 
 ' pentasyllable pentasyllable. ' 
 
 * pentasyllable hexasyllable. ' 
 
 634 317 317 
 
196 
 
 University of California Publications. [<^ass. Phil. 
 
 II 
 
 TABLE III. 
 
 Simimary of word-lengths in the (•oiicluding portions of all 
 four veraes. 
 
 'monosyllable monosyllable.' . 
 ' monosyllable dissyllable. ' 
 
 * monosyllable trisyllable. ' 
 
 * monosyllable quadrisyllable. ' 
 ' monosyllable jjentasyllable. ' 
 
 * dissyllable monosyllable. ' 
 
 * dissyllable dissyllable. ' 
 
 * dissyllable trisyllable. ' 
 
 ' dissyllable quadrisyllable. ' 
 
 * dissyllable pentasyllable. ' 
 ' dissyllable hexasyllable. ' 
 
 * trisyllable monosyllable. ' 
 
 * trisyllable dissyllable. ' 
 
 * trisyllable trisyllable. ' 
 
 * trisyllable quadrisyllable. ' 
 
 * trisyllable pentasyllable. ' 
 
 * trisyllable hexasyllable. ' 
 
 ' quadrisyllable monosyllable. ' 
 
 * quadrisyllable dissyllable. ' 
 
 * quadrisyllable trisyllable. ' 
 
 ' quadrisyllable quadrisyllable. ' 
 ' quadrisyllable pentasyllable. ' 
 
 * quadrisyllable hexasyllable. ' 
 ' pentasyllable monosyllable. ' 
 
 * pentasyllable dissyllable. * 
 
 * pentasyllable trisyllable. ' 
 
 * pentasyllable hexasyllable. ' 
 ' hexasyllable monosyllable. ' 
 
 * hexasyllable dissyllable. ' 
 
 * hexasyllable trisyllable. ' 
 
 
 Inil 
 
 InB 
 
 InC 
 
 
 1 
 
 2 
 
 2 
 
 
 
 verses end 
 
 2 
 
 52 
 
 39 
 
 9 
 
 verses end 
 
 3 
 
 44 
 
 36 
 
 5 
 
 verses end 
 
 4 
 
 2 
 
 
 
 
 
 verses end 
 
 5 
 
 19 
 
 
 
 
 
 verses end 
 
 6 
 
 2 
 
 7 
 
 
 
 verses end 
 
 7 
 
 32 
 
 8 
 
 34 
 
 verses end 
 
 8 
 
 76 
 
 31 
 
 8 
 
 verses end 
 
 9 
 
 63 
 
 
 
 12 
 
 verses end 
 
 10 
 
 
 
 
 
 
 
 verses en*l 
 
 11 
 
 3 
 
 
 
 
 
 verses end 
 
 12 
 
 1 
 
 1 
 
 
 
 verses end 
 
 13 
 
 82 
 
 12 
 
 5 
 
 verses end 
 
 14 
 
 170 
 
 115 
 
 64 
 
 verses end 
 
 15 
 
 
 
 1 
 
 1 
 
 verses end 
 
 16 
 
 1 
 
 
 
 
 
 verses end 
 
 17 
 
 3 
 
 
 
 
 
 verses end 
 
 18 
 
 1 
 
 
 
 
 
 verses end 
 
 19 
 
 73 
 
 35 
 
 127 
 
 verses end 
 
 20 
 
 3 
 
 20 
 
 22 
 
 verses end 
 
 21 
 
 
 
 1 
 
 
 
 verses end 
 
 22 
 
 
 
 
 
 
 
 verses end 
 
 23 
 
 «> 
 
 
 
 2 
 
 verses end 
 
 24 
 
 1 
 
 
 
 
 
 verses end 
 
 25 
 
 1 
 
 5 
 
 21 
 
 verses end 
 
 26 
 
 
 
 3 
 
 3 
 
 verses end 
 
 27 
 
 1 
 
 
 
 
 
 verses end 
 
 28 
 
 
 
 
 
 
 
 verses end 
 
 29 
 
 
 
 1 
 
 3 
 
 verses end 
 
 30 
 
 
 
 
 
 1 
 
 verses end 
 
 634 317 317 
 
 Vol. 1] 
 
 Richardson. — Horace's Alcaic Strophe. 
 
 TABLE IV. 
 
 197 
 
 This table takes account of all words found in Horace's Alcaic 
 strophe, showing their length in terms of syllables, their relative 
 frequency, and the places of the verse in which they end. The 
 table is to be read as follows : 199 monosyllables stand in the 
 first space of A; 211 dissyllables end in the second space of A; 60 
 trisyllables end in the third space of C; and so on. 
 
 Monosyllables in 
 
 Dissyllables in 
 
 Trisyllables in 
 
 Hexasyllables in 
 
 1st 
 space 
 
 84 
 69 
 
 2nd 3rd 
 space space 
 
 Quadrisyllables in <^ B 
 
 C 
 
 Pentasyllables in 
 
 80 
 
 8 
 2 
 
 211 
 75 
 99 
 
 42 
 
 39 
 10 
 
 67 
 
 65 
 
 9 
 
 199 
 
 155 
 
 60 
 
 4th 
 space 
 
 31 
 49 
 
 27 
 
 5th 
 space 
 
 49* 
 
 It 
 
 4 
 
 8 276 
 
 I 
 
 30 
 
 83 ' 5 
 
 10 241 
 2 13 
 
 55 ; 1 
 
 i 
 4 ' 42 
 
 5 
 
 87 2 
 
 1 
 
 i 21 
 
 I 
 
 3 
 
 I 2 
 
 6th ! 7th 8th 
 space space space 
 
 201 
 41 
 
 1 
 
 37 
 49 
 
 4 
 
 39 
 
 5 
 
 140 
 
 8 
 8 
 
 1 
 144 13 
 
 I 
 
 .21 70 
 
 26 I 36 
 23 127 
 
 5 
 4 
 
 1 
 1 
 
 45 
 2 
 
 94 
 
 7 
 34 
 
 205 
 1 
 5 
 
 9th 
 space 
 
 21 
 
 52 
 10 
 
 33 
 100 
 
 83 
 205 
 
 73 
 2 
 
 lOth 
 
 11th 
 
 space 
 
 space 
 
 2 
 
 7t 
 
 2 
 
 240 
 
 189 
 
 
 103 
 
 293 
 
 13 
 1 
 
 65 
 
 20 
 
 Total 
 
 9 
 
 * Of these 12 are preceded by elision (2 in Book I, 2 in Book II, and 8 in 
 Book III) and 3 arise from elided dissyllables. 
 t All preceded by elision, except two. 
 t Preceded by elision. 
 
 712 
 273 
 127 
 
 1071 
 322 
 476 
 
 1033 
 533 
 296 
 
 181 
 
 69 
 
 232 
 
 43 
 11 
 27 
 
 9 
 1 
 6 
 
198 
 
 University of California Publications. [Class. Phil. 
 
 Vol.1] 
 
 Ilichardson. — Horacc^s Alcaic Sitrophe. 
 
 199 
 
 TABLE V. 
 
 Total : 
 11 cases within strophes. 
 4 eases between strophes. 
 
 Interveree hiatus occurs fifty times, as shown in the following 
 enumeration. Cases falling between verse C and verse A are en- 
 closed within parentheses, being less objectionable than those 
 within a single strophe ; cases involving an exclamative monosyl- 
 lable, likewise little objectionable, are marked with an asterisk. 
 
 I, 9, 7*; 14. " ' 
 
 I, 16, (16) ; 27. 
 
 I, 17, 6; 13; (16); 25. 
 
 I, 26. None. 
 
 I, 27. None. 
 
 I, 29. None. 
 
 1 , t5 1 , •} ; 14. 
 
 I, 34. None. 
 
 I, 35, 9; (12); (32); 38. 
 
 II, 3, (12); (24). 
 II, 5, 9. 
 II, 7. None. 
 II, 9, 3; (12). 
 II, 11. None. 
 
 II, 13, (4); 7; (8); 11; 21; 26; (28). 
 II, 14, 3. 
 II, 15. None. 
 II, 17, (4*); (20). 
 
 XX, Xa7, t5X. 
 
 II, 20. None. 
 
 III, 1. None. 
 Ill, 2, 17; (24). 
 Ill, 3, (8); (40). 
 
 Ill, 4, (4); (16); (28); (72); (76). 
 Ill, 5, 10; 11; (12); (24); (36); 46. 
 Ill, 6. None. 
 Ill, 17. None. 
 Ill, 21. None. 
 Ill, 23, (16). 
 
 III, 26. None. 
 
 JIXXj^ 4m if* JJN Olio* 
 
 IV, 4, (4). 
 IV, 9. None. 
 IV, 14. None. 
 
 Total : 
 
 8 cases within strophes. 
 
 9 cases between strophes. 
 
 Total : 
 4 cases within strophes. 
 12 cases between strophes. 
 
 Total: 
 1 case within a strophe. 
 1 case between strophes. 
 
 ^[any instances of interverse hiatus in a poem indicate imma- 
 turity in the poet's art, intractability of material, or conditions 
 of composition some way unfavorable. Ode II, 13, for example, 
 shows not only seven cases of interverse hiatus but the following 
 unusual points: Verse 22 (.1) has a form not found elsewhere 
 in Horace: that of verse 33 {A) occurs again only in II, 7, 13; 
 that of verse 14 {A) occurs again only in I, 34, 10, and III, 4, 17 ; 
 that of verse 27 (5) is unique; that of verse 19 (B) occurs again 
 only in III, 6, 11; that of verse 8 (0) is unique; that of verse 12 
 occurs again only in I, 9, 24. 
 
 >] 
 
 i''<l 
 
200 
 
 Unufersity of Calif ornia Publications. [Class. Phil. 
 
 TABLE VL 
 
 Features of rare oeeurrenee may hy their very rarity throw 
 lisrht on the nature of the verse. One may thus see what the poet 
 generally avoids and, by contrast, what he seeks. The following 
 verses of Horace are eacli unique as regards arrangement of 
 caesuras and diaereses. Rightly interpreted they form a sort of 
 Alcaic antibarbanis. 
 
 I, 9, 8 
 l,j Hj It) 
 I, 16, 24 
 
 M. m JL i f Jl. Tt' 
 
 I, 26, 11 
 
 I, 26, 12 
 1, 27, 14 
 T, 29 
 
 A, ol , J o 
 
 I, 31, 16 
 
 I, 34, 10 
 
 I, 35, 11 
 
 I, 35, 21 
 
 1, oO, «i»» 
 
 1, 37, 6 
 I, 37, 14 
 
 I, 37, 20 
 
 II, 1, 4 
 
 ir, 1, 11 
 n, 1, 35 
 
 IT, 1, 36 
 
 i.X, o, o 
 
 II, 3, 15 
 
 1.1, o, idZ 
 
 II, 3, 27 
 11^ 5 
 
 II, 7, 19 
 
 II, 9, 4 
 
 II, 9, 13 
 
 II, 11, 10 
 
 II, loj 8 
 II, 14, 11 
 
 11, JLdy O 
 
 Mm.JL.m JL i tf M 
 
 11, 17, 21 
 
 O Thaliarelie nierum diota. 
 
 quid sit futiirum eras fuge quaerere et. 
 
 fi'ivor ft in eeleres iambos. 
 
 et musa eordi est. hie tibi copia. 
 
 hunc Lesbio sacrare plectro. 
 
 tecjue tuaaqiie decet aorores. 
 
 mereede. quae te cumque domat Venus. 
 
 None. 
 
 dis earns ipsis, quippe ter et quater. 
 
 me cjehorea levesqiie malvae. 
 
 quo Styx et invisi horrida Taenari. 
 
 regumque matrea barbaronim et. 
 
 te Spea et albo rara Fides colit. 
 
 incude diffingaa retusum in. 
 
 eellis avitis dum Capitolio. 
 
 mentemque lymphatam Mareotico. 
 
 Haemoniae daret ut catenis. 
 
 prineipum aniicitias et arma. 
 
 res ordinaris grande niunus 
 
 non decoloravere caedes. 
 
 quae caret ora cruore nostro. 
 
 ab insolenti teniperatam. 
 
 hue vina et unguenta et nimium brevis. 
 
 dum res et aetas et sororuin. 
 
 nil interest an pauper et infinia. 
 
 sors exitura et nos in aeternum. 
 
 None. 
 
 depone sub lauru niea nei'. 
 
 usque nee Armeniis in oris. 
 
 at non ter aevo functus amabilem. 
 
 quaerere nee trepides in usum. 
 
 vernis neque uno luna rubens nitet. 
 
 cur non sub alta vel platano vel hac. 
 
 hospitis; ille venena Colcha. 
 
 enaviganda sive reges. 
 
 evincet ulmos. turn violaria et. 
 
 nee dis amieum est nee niihi te prius. 
 
 utrunique nostrum incredibili mode. 
 
 (C) 
 (A) 
 (C) 
 (A) 
 
 (B) 
 (C) 
 (^0 
 
 (A) 
 (C) 
 (A) 
 (B) 
 (A) 
 (B) 
 (A) 
 (A) 
 (C) 
 (C) 
 (B) 
 (B) 
 (C) 
 (B) 
 (A) 
 (B) 
 (A) 
 (B) 
 
 (B) 
 (C) 
 
 (A) 
 (C) 
 (A) 
 (A) 
 (C) 
 (B) 
 (A) 
 (A) 
 (A) 
 
 Vol. 1] 
 
 Rich a rdson . — Eo race 's A Icaic Stroplw . 
 
 201 
 
 II, 
 
 19, 
 
 19 
 
 n. 
 
 19, 
 
 26 
 
 II, 
 
 20 
 
 
 II r 
 
 , 1, 
 
 11 
 
 III 
 
 9 
 
 f —f 
 
 5 
 
 III 
 
 , 3, 
 
 24 
 
 III 
 
 , 3, 
 
 49 
 
 III 
 
 , 3, 
 
 64 
 
 m 
 
 4. 
 
 8 
 
 III 
 
 4, 
 
 9 
 
 in, 
 
 4, 
 
 20 
 
 III, 
 
 4, 
 
 41 
 
 III, 
 
 4, 
 
 59 
 
 III, 
 
 4, 
 
 70 
 
 TIT, 
 
 4, 
 
 75 
 
 III, 
 
 '">, 
 
 10 
 
 III, 
 
 5, 
 
 12 
 
 TIT, 
 
 5, 
 
 14 
 
 in. 
 
 '■>, 
 
 21 
 
 ni. 
 
 •"), 
 
 43 
 
 in. 
 
 •">, 
 
 .j() 
 
 in, 
 
 6, 
 
 18 
 
 HI, 
 
 17 
 
 
 TIT, 
 
 21, 
 
 10 
 
 III, 
 
 21, 
 
 21 
 
 111, 
 
 23 
 
 
 HI. 
 
 2<i. 
 
 9 
 
 HI. 
 
 29, 
 
 3 
 
 HI. 
 
 29, 
 
 5 
 
 HI, 
 
 29, 
 
 7 
 
 HI, 
 
 29, 
 
 9 
 
 HI, 
 
 29, 
 
 12 
 
 III, 
 
 29, 
 
 30 
 
 HI, 
 
 29. 
 
 32 
 
 III, 
 
 29, 
 
 40 
 
 HI. 
 
 29. 
 
 49 
 
 IV, 
 
 4, 9 
 
 IV, 
 
 4, i 
 
 to 
 
 iv, 
 
 4, 5 
 
 »2 
 
 IV, 
 
 4, r: 
 
 '6 
 
 IV, 
 
 4, 7 
 
 ■0 
 
 IV. 
 
 9, 1 
 
 
 TV, 
 
 9, 2 
 
 6 
 
 IV, 
 
 14, 
 
 5 
 
 IV, 
 
 14, 
 
 17 
 
 IV, 
 
 14, 
 
 24 
 
 TV. 
 
 14, 
 
 33 
 
 IV, 
 
 15 
 
 
 node coerces viperino. 
 
 ludoquo dictua non sat idoneus. 
 
 None. 
 
 deaeendat in eanipum petitor. 
 
 vitamque sub divo et trepidis agat. 
 
 cum populo et duce fraudulento. 
 
 aurum inrepertum et aic melius situm. 
 
 coniiige me lovis et sorore. 
 
 quos et aquae subeunt et aurae. 
 
 me fabuloaae Volture in Appulo. ' 
 
 non sine dis animosus infans. 
 
 voa lene consilium et datis et dato. 
 
 Volcanus hinc matrona Tuno et. 
 
 aententiarum notua et integrae. 
 
 miasos ad Orcum nee peredit. 
 
 aneiliorum et nominis et togae. 
 
 ineolumi love et urbe Roma. 
 
 dissentientis condicionibus. 
 
 derepta vidi, vidi ego eivium. 
 ab se removisse et virilem. 
 aut Lacedaemonium Tarentum. 
 primum irquinavere et genus et domos. 
 
 No re. 
 
 sermonibus te negleget horridus. 
 
 te Lilier et si laeta aderit Venus. 
 
 Nore. 
 
 () quae heatam diva tones Cyprum et. 
 
 cum floro Maecenas rosarum et. 
 
 iamdudum apud me est. eripe te morae. 
 
 declive contempleris arvum et. 
 
 fastidiosam deaere copia m et. 
 
 fumum et ojtea strepitumque Romae. 
 
 caliginoaa nocte premit deus. 
 
 fas trepidat. quod adest memento. 
 
 cum fera diluviea quietos. 
 
 Fortuna saovo laeta negotio et. 
 
 venti paveiitem mox in ovilia. 
 
 nee scire fas est omnia sed diu. 
 
 fallere ot effugere est triumphus. 
 
 pertulit Ausonias ad urbis. 
 
 nomiris TIasdrubale interempto. 
 
 ne forte credas interitura quae. 
 
 multi aed omnes inlacrimabiles. 
 
 aeternet O qua sol habitabilis. 
 
 spectandua in certamine Martio. 
 
 mittere equum medios per ignis. 
 
 te copias te consilium et tuos. 
 
 None. 
 
 (B) 
 
 (A) 
 
 (B) 
 (A) 
 (C) 
 (A) 
 
 (C) 
 (C) 
 (A) 
 (C) 
 (A) 
 (B) 
 (A) 
 (B) 
 (A) 
 (C) 
 (A) 
 (A) 
 (B) 
 (C) 
 (A) 
 
 (A) 
 (A) 
 
 (A) 
 
 (B) 
 
 (A) 
 
 (B) 
 
 (A) 
 
 (C) 
 
 (A) 
 
 (C) 
 
 (C) 
 
 (A) 
 
 (A) 
 
 (A) 
 
 (C) 
 
 (C) 
 
 (C) 
 
 (A) 
 
 (A) 
 
 (A) 
 
 (A) 
 
 (C) 
 
 (A) 
 
I 
 
 202 
 
 University of California Publications. [Class. Phil. 
 
 Vol.1] Richardson. — Horace's Alcaic Strophe. 
 
 203 
 
 i 
 
 It must not be supposed that because a verse is i-are in form it 
 is uiM'cssarily crude. Some verses are rare (1) by design, as, for 
 instance, might result from onomatx)poeia : some (2) by chance, 
 the unusual features being purely accidental ; some (3) by defect. 
 Like the cases of interverse hiatus, these last arise from imma- 
 turity in the poet's art, intractability of material, or conditions 
 of composition some way unfavorable, as may be inferred from 
 the circumstance that where such verses al)ound other irregular- 
 ities are likely to be found. In I, 37, for example, along with the 
 unduly similar word-arrangements of verses 21, 22, and 23, the 
 objectionable fifth-space division of verse 23. the absence of the 
 regular division in verses 5 and 14, the two dissyllables at the 
 outset of verse 5, and other features shown in the three examples 
 above quoted, we find interverse hiatus after verse 11 and a short 
 initial syllable in verses 15 and 22. In III, 4, along with the 
 monosvllable closing verse 59 and other features shown in the 
 seven examples above, we find a prosodic irregularity in verse 
 41 and five cases of interverse hiatus. In III, 29, along with 
 four ven:es closing with a monosyllable (three in the first three 
 strophes), the two dissyllables at the outset of verse 5, and the 
 other features shown in the nine examples above, we find verses 
 35-36 connected by interverse elision. It should be noted also 
 in this poem that the form of verse 36 is repeated in verse 52, but 
 nowhere else in Horace, and the form of verse 2 occurs elsewhere 
 only in III, 4, 65. 
 
 ■ 
 
 TABLE VII. 
 
 Horace allowed a short syllable to begin a verse of the Alcaic 
 Strophe in the following cases: 
 
 I, 9, 1 A 
 
 I, 16, 19 B 
 
 I, 17, 7 B 
 
 I, 27, 17 A 
 
 I, 27, 22 A 
 
 I, 29, 7 B 
 
 I, 29, 14 A (common syllable) 
 
 1, 31, 9 A 
 
 I, 31, 17 A 
 
 T, 35, 1.5 B 
 
 I, 35, 37 A 
 
 I, 35, 38 A 
 
 I, 37, 15 B 
 T, 37, 22 A 
 
 II, 1, 6 A 
 II, 3, 3 B 
 II, 7, 22 A 
 II, 9, 5 A 
 
 II, 13, 29 A (common syllable) 
 
 II, 14, 6 A 
 
 II, 17, 3 B 
 
 II, n, 21 A (common syllable) 
 
 II, 19, 22 A 
 
 II, 20, 11 B 
 HI, 1, 2 A 
 in, 1, 22 A 
 
 III, 1, 26 A 
 III, 3, 34 A 
 III, 3, 71 B 
 III, 4, 78 A 
 III, 5, 22 A 
 
 III, 29, 11 B 
 
 IV, 4, 58 A (common syllable) 
 
 Summary of cases in .4 (common syllables not included) : 
 
 Book I 8 cases 
 
 Book II 5 cases 
 
 Book III 6 cases 
 
 Book IV cases 
 
 Total 19 cases 
 
204 University of California Publications. [C^^^ss. Phil. 
 
 Summary of cases in B: 
 
 Book I 5 cases 
 
 Book II 3 cases 
 
 Book III 2 cases 
 
 Book IV cases 
 
 Total 10 c^^^ 
 
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