Both Mr. Martin and Prof. Conington have given close and successful attention to this part of their task. But it was left for Lord Lytton to attempt something like a systematic imitation of the Horatian metres. His plan, as set forth in his preface, “was in the first instance to attempt a close imitation of the ancient measure—the scansion being, of course (as in English or German hexameters and pentameters), by accent, not quantity—and then to make such modifications of flow and cadence as seemed to me best to harmonize the rhythm to the English ear, while preserving as much as possible that which has been called the type of the original.” Something of this kind, no doubt, Milton had in view in the measure he took for his Ad Pyrrham, and which the Wartons and Professor Conington adapted to the same purpose after him, the latter, however, adding the embellishment or, as Milton himself had called it, the “barbarous jingle” of rhyme. Milton’s measure (well known as that of Collins’ “Ode to Evening”), which consists of two unrhymed iambic pentameters, followed by two unrhymed iambic trimeters—or, to be “more English and less nice,” of two ordinary blank-verses followed by two three-foot verses—resembles Horace’s metre, which the grammarians would tell us is the third Asclepiadian strophe, “rather,” says Prof. Conington, “in the length of the respective lines than in any similarity of the cadences.” Lord Lytton attempted something more, and with only partial success, though the task, it must be owned, was not an easy one. Horace, in the Odes and Epodes, uses eighteen different varieties of metre, ranging from the grave sadness of what is called the first Archilochian strophe, the lovely measure in which one of the loveliest of all the Odes is written (iv. 7)—

“Diffugere nives; redeunt jam gramina campis

Arboribusque comæ,”[[81]]

to the quick sharpness of the first iambic strophe in which the poet mauls the unsavory Mævius. And not only this, but each of these metres is used by Horace to express widely differing moods of feeling. Thus, the same measure which in the beautiful lament for Quinctilius breathes the tenderest spirit of grief and resignation, serves equally well to guy Tibullus on his luckless loves, to sound “stern alarums” to the absent Cæsar, or to bid Virgil or Varius to “delightful meetings.” The Sapphic rises to the lofty height of the Carmen Seculare or stoops to chide a serving-boy for his super-serviceable zeal; is equally at home with an invocation to the gods or an invitation to dinner; while the Alcaic—what subject is there that in Horace’s hands the Alcaic cannot be made to sing?

This flexibility of the Latin metres Lord Lytton has recognized, and sought to meet by a corresponding variation of his own, “according as the prevalent spirit of the ode demanded lively and sportive or serious and dignified expression.” Thus, for the Alcaic stanza he employs “two different forms of rhythm”; one as in i. 9:

“See how white in the deep fallen snow stands Soracte;

Laboring forests no longer can bear up their burden;

And the rush of the rivers is locked,

Halting mute in the gripe of the frost”;

the other as in i. 34: