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[I have attempted, below, a series of imitations of four of the leading classes of ancient measures; namely, the Dactylic (Elegiac), Iambic (including the Anacreontic), Anapestic, and Trochaic. The first I have adapted, after the manner of Tyrtæus, to the Patriotic Elegy; the Iambic proper (Trimeter), to a subject not unsuited to its tragic character; the Anacreontic, to its not inappropriate purpose, as a Dithyrambic. The Anapestic has the proper movement of a march; in the longer lines (Tetrameter), that of a dead march; in the shorter (Dimeter), that of an onset. The Trochaic I have adapted to the sentimental; in the longer lines (Tetrameter), to the more tender and pathetic; in the shorter (Dimeter), to the lighter and more exhilarant. Here, too, in lines of equal length, the character varies, as the measure is complete or incomplete (Acatalectic or Catalectic); in the former case, the movement being more gentle; in the latter, more spirited. I have aimed at classic imagery and sentiment in all these pieces, except the first Trochaic, the character of which is rather modern; but such is the dominant influence of the Subjective in modern poetry, that I am conscious I have not attained, as well as I could wish, to the purer Objective of the ancients.]

[In the present section, several varieties of ancient measures are attempted, in addition to those in the preceding. In the series of Dactylics, the effect of the different degrees of Catalexis is, if I mistake not, clearly evident; that on one syllable (as in the Hexameter II. and in the Pentameter and Tetrameter here given) leading to a more subdued or sustained expression; and that on two syllables (as in the Heroic Hexameter I.), to a higher and more energetic expression, peculiarly suited to the Epic; while the Acatalectic (complete) termination on three syllables gives a fuller expression, approaching the magniloquent, or a lighter movement, verging on levity. The Hypercatalectic termination of the Hexameter (IV.), which is really a Heptameter, Catalectic on one syllable, presents a very singular measure, as happy in its expression as it is difficult of execution. The Iambic Tetrameter Catalectic (I.) is the “O Miss Baily!” measure, so much a favorite in Romaic poetry, as in the Ερωτας απολογουμενος of Christopoulos. This is strikingly different, in its light, tripping movement, from the corresponding Acatalectic verse (II.), which is always marked, more or less, by a slow and dignified or plaintive expression, similar to that of the Tragic Iambic (Part I.). The Choriambic, from the natural pause between the measures, has a bounding, but at the same time energetic movement, which may, by changing the pause to a slide, become subdued and flowing. But a continuous series of Choriambics has a monotonous effect, and doubtless for this reason they were usually accompanied with other feet, particularly as terminations. Thus the Choriambic (I.) has an Iambic (Catalectic) termination, or its equivalent; while the Choriambic Polyschematist consists of two members, each with an Iambic termination (the first complete, the second Catalectic). The Choriambic (II.) is composed of a pure series of Choriambics, but is so arranged, if I mistake not, as to give, in most instances, an easy slide from one measure to another, thus relieving the natural abruptness of the verse. The two specimens, under the head of Glyconic and Pherecratean, differ only in the distribution of the two varieties of verse combined; the latter specimen forming the verse called Priapeian by the ancients. The specimen marked Eupolidean and Cratinean, consists of a stanza of the former verse, followed by one of the latter; the two differing so little, as to be readily combined in the same series. The Epionic (Polyschematist), like the Choriambic Polyschematist, consists of two members, the last of which, as in the latter, is one syllable shorter than the first. The Asynartete verse is characterized by a change of movement in the middle of the line; the first member, in this instance, beginning with the accent (arsis); the second, with an unaccented syllable (thesis). An instance of such verse occurs in the first half of the stanza in Lay XII. (p. 269), where the lines are alternately Trochaic and

Iambic. This verse corresponds to the succession of verses or strains in music, beginning alternately with full and broken measures, an instance of which occurs in the Barcarole in Masaniello. This alternation, both in poetry and music, produces an effect at once striking and pleasing. Several of the varieties of verse here attempted might form agreeable stanzas, even in our inflexible language, particularly if the hemistichs were written in distinct lines. This is more especially true of the Glyconic and Pherecratean, the Eupolidean and Cratinean, the Asynartete, and the two Polyschematists. All the specimens in the first part, and all thus far in the second, are rhymed, which undoubtedly relieves the ear not a little in adapting itself to measures so unusual, particularly to the longer lines, such as the Hexameters and the Dipodial Tetrameters. A few specimens of unrhymed Horatian stanzas are also given in the present section, viz. the Sapphic, Alcaic, and two Asclepiadian, corresponding respectively to those of the second, ninth, sixth, and fifth odes of the first book. In all these, I have endeavored to follow as near as possible the ancient quantity. The Sapphic consequently differs essentially in its rhythm from that of the English accentual Sapphic. The Galliambic and the Saturnian verse I have adapted not inappropriately to Roman subjects. The former is immortalized in the Atys of Catullus, while in the latter we have a genuine Latin measure, in which not improbably the old ballads of early Rome were composed. This, too, is Asynartete in its structure; a fact perhaps connected with the similar movement in some of the popular airs of the Italians, above alluded to.]