stantly in danger of regarding the abuse as the law of the measure. Horace is scarcely less remarkable for his terseness than for his ease: the tendency of the octosyllabic metre in its colloquial form is to become slipshod, interminable, in a word unclassical. Again, few of those who use it apply it consistently to all Horace's hexameter poems: most make a distinction, applying it to some and not to others. In point of fact, however, it does not seem that any such distinction can be made. Horace's lightest Satires or Epistles have generally something grave about them: his gravest have more than one light passage. To draw a metrical line in the English where none is drawn in the Latin appears to me objectionable ipso facto where it can reasonably be avoided. That it can be avoided in the present case does not really admit of a doubt. The English heroic couplet, managed as Cowper has managed it, is surely quite equal to representing all the various changes of mood and temper which find their embodiment successively in the Horatian hexameter. Cowper's more serious poems contain more of deep and sustained gravity than is to be found in any similar production of Horace: while on the other hand there are few things in Horace so easy and sprightly as the
