step is easy. Taking an English iambic line of ten syllables to represent the longer lines of the Latin, an English iambic line of six syllables to represent the shorter, we see that the metre of Horace's "Scriberis Vario" finds its representative in the metre of Mr. Tennyson's "Dream of Fair Women." My experience would lead me to believe the English metre to be quite capable, in really skilful hands, of preserving the effect of the Latin, though, as I have said above, the Latin measure is employed by Horace both for a threnody and for a love-song.
The Sapphic and the Alcaic involve more difficult questions. Here, however, as in the Asclepiad, I believe we must be guided, to some extent, by external similarity. We must choose the iambic movement as being most congenial to English; we must avoid the ten-syllable iambic as already appropriated to the longer Asclepiad line. This leads me to conclude that the staple of each stanza should be the eight-syllable iambic, a measure more familiar to English lyric poetry than any other, and as such well adapted to represent the most familiar lyric measures of Horace. With regard to the Sapphic, it seems desirable that it should be represented by a measure of which the three first lines are eight-syllable iambics, the fourth some shorter variety.
