Odes and Carmen Saeculare | Page 3

fourth line of the next succeeding stanza, as for instance:--
You shoot; she whets her tusks to bite;
While he who sits to judge the
fight
Treads on the palm with foot so white,
Disdainful,
And sweetly floating in the air
Wanton he spreads his
fragrant hair,
Like Ganymede or Nireus fair,
And vainful.
It would be possible, no doubt, to produce verses better adapted to
recommend the measure than these stanzas, which are, however, the
best that can be quoted from Francis; it might be possible, too, to
suggest some improvement in the structure of the fourth line. But,
however managed, this stanza would, I think, be open to two serious
objections; the difficulty of finding three suitable rhymes for each
stanza, and the difficulty of disposing of the fourth line, which, if made
to rhyme with the fourth line of the next stanza, produces an
awkwardness in the case of those Odes which consist of an odd number

of stanzas (a large proportion of the whole amount), if left unrhymed,
creates an obviously disagreeable effect. We come then to the other
alternative, the stanza with alternate rhymes. Here the question is about
the fourth line, which may either consist of six syllables, like
Coleridge's Fragment, "O leave the lily on its stem," or of four, as in
Pope's youthful "Ode on Solitude," these types being further varied by
the addition of an extra syllable to 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