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The Virgilian movement differs not more from the Homeric, than does the Horatian sapphic or alcaic from the same metres as treated by their Greek inventors. The success of Horace may be judged by comparing his stanzas with the sapphics of Catullus on the one hand, and the alcaics of Statius on the other.
In his "Ode to Himself upon the Censure of his New Inn" in 1620 Jonson, like Landor long afterward, takes scornful refuge from the present in turning back to Greece and Rome: "Leave things so prostitute, And take the Alcaic lute; Or thine own Horace, or Anacreon's lyre; Warm thee by Pindar's fire."
I found it not in my power to translate this song with literal fidelity preserving at the same time the Alcaic movement, and have therefore added the original, with a prose translation. Some of my readers may be more fortunate.
With the principal lyric metres, too, the sapphic and alcaic, he had done what Virgil had done with the dactylic hexameter, carried them to the highest point of which the foreign Latin tongue was capable. They were naturalised, but remained sterile.
He committed, however, to the press, translations of some of Gay's Fables, which had been made into Latin, chiefly with a view to the improvement of his children; an Alcaic Ode to Doctor Jenner, on the discovery of the Cowpock; and several short poems in his own language.
But high above the roar of the blazing chimney, above the din of the groaning stithy, high pealed the notes of a wild Alcaic ode, to which, chaunted by the stentorian voices of the powerful mechanics, the clanging sledges made a stormy but appropriate music. "Strike, strike the iron," thus echoed the stirring strain,
There are short poems of this sort, the date of which even a critic would be unable to fix, in the absence of positive evidence that they are works of the fifteenth and sixteenth centuries. On the other hand, we can find scarcely an ode in the Sapphic or Alcaic meter, which does not clearly betray its modern origin.
Such unmeasured feelings could not be held within the controlled harmonies of the hexameter nor within sapphic or alcaic or Pindaric strophes. These antique forms of poetry definitely expressed their contents, although sometimes suggesting further unspoken feeling, which is so noticeable with Virgil.
What was their joy, even at that perilous moment, as they lurked between the guardian and the abyss, to find that the box contained fifteen peerless odes in the alcaic form, five sonnets that were by far the most beautiful in the world, nine ballads in the manner of Provence that had no equal in the treasuries of man, a poem addressed to a moth in twenty-eight perfect stanzas, a piece of blank verse of over a hundred lines on a level not yet known to have been attained by man, as well as fifteen lyrics on which no merchant would dare to set a price.
And as it is not poets who follow laws, but precede them as trochee and iambic, alcaic and hexameter, are the inventions of grammarians following on the trail of genius so it behoves the Aristotle who would discover the laws of the rhythm of prose to study the masters of the art, masters by instinct and a faultless ear and the grace of God, and endeavour by patient induction to wrest from their sentences the secrets of their harmonies.
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