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