578:(two dactyls then an emphatic final syllable). The English translation follows it closely but in accentual rhythm. The opening lines are lost and the square brackets indicate another lost portion. The square brackets are not in the English version, replaced by an "educated guess" suggested by Eduard Fraenkel. A few more letters were lost in the original but scholars are in general agreement about their identity and those gaps are not shown here. The comments are also largely based on Fraenkel's work. Despite all the gaps in the original, the fragment supplies a key meaning absent from Horace's epode – a motive for hate.
20:
833:, where his poetry was deemed offensive by the population until Dionyssus opened their eyes to their own folly by punishing them with some kind of affliction, possibly impotence (the fragment is very patchy at that point). A Pythian oracle then advised them to honour Archilochus and thus a shrine was established to him. (see Archilochus fr. 3 and commentary, D.E. Gerber,
119:) denoted a type of poetry, specifically its content, and only secondarily did it have any significance as a metrical term. This emerges for example from the fact that Archilochus, a famous iambic poet, was once criticized for being "too iambic" The genre appears to have originated in the cult of Demeter, whose festivals commonly featured insulting and abusive language (
571:), which seems to support Blass's identification since Hipponax often mentions himself by name in his extant work. However, the brilliance of the poem's invective suggests it is the work of a more significant poet i.e. Archilochus. Some scholars conclude that the fragment is not a single poem, assigning part to Archilochus and the rest to Hipponax.
492:. By the latter part of the poem, however, the south wind is no longer being addressed, a change that happens when Mevius is addressed instead (lines 15–20). This change in addressee is preceded by a mythological episode taken from the heroic Ajax legend, occurring exactly in the middle of the poem (lines 11–14), where it functions as a sort of
277:
spontaneous and that inevitably led to some "hodepodge" contexts. Whatever his unique contribution may have been, Horace still managed to recreate something of the ancient spirit of the genre, alerting his companions to threats facing them as a group, in this case as Roman citizens of a doomed republic:
667:, where emotions get ahead of the poet's control as he anticipates years of suffering for his former friend. Images seem to tumble from his excited mind but nothing is superfluous and his control of the material is shown for example in his use of irony when referring to the great kindness of the savage
187:) and the cult festival were probably the main occasions. Nor do we know clearly what role iambic poetry played in ancient society. It was certainly complex. It seems to have found voice during times of social change and political dissent, when the poet felt entitled or empowered to preach and condemn.
705:
In this poem fierce hatred mingled with contempt finds a powerful voice, and yet, with so much passion, every phrase and every sentence is kept strictly under the control of a masterly mind. The impact on the ear, on the eye, and on the sense of smell is strong throughout. Every detail, the surf, the
529:
but with an ironic inversion: in a
Hellenistic "farewell" poem, it was conventional to wish upon the traveller a safe voyage and favourable winds, pledging sacrifices if the ship arrived at port. Nevertheless, the ironic genre-bending quality of epode 10 (and some others in the collection) was fairly
479:
3.90 but there is no proof for such an identification. He could represent an imaginary scapegoat intended to avert the gods' anger from the poet's circle of 'friends', a device common in the archaic iambus of
Hipponax and Archilochus: in this case, the "friends" may be understood to be Roman citizens
168:
Blame ranges from humorous ribbing of friends to merciless attacks on outsiders. Among ancient literary theorists, iambic verse came to be regarded as lower than lyric poetry, partly because iambic meter was thought to be the simplest of verse forms, and the nearest to common speech, but also because
538:
which had partly suggested to him the theme of his epode. His borrowing was confined to the most general outlines of the subject. As if to make up for the resulting loss, he embroidered his own poem with many elaborate devices, most of them derived from
Hellenistic poetry. Consequently what had been
271:
11 and 14). Moreover, his iambic persona is deliberately presented as powerless, in contrast to the swaggering persona of
Archilochus. Horace's weak iambic persona is not inconsistent with the genre. Traditionally the iambic poet, though he bullies others, is a victim too. Thus, Archilochus was said
251:
poets such as
Catullus combined a native tradition of satirical epigram with Hipponax's pungent invective to form neatly crafted, personal attacks. Hipponactean choliambs were among Catullus's most often used meters but the spirit of iambus seems to have infused much of his non-iambic verse as well.
217:
The spread of literacy impacted on all ancient poetry, iambus included. Its influence was already becoming evident in Athens by the fifth century BC, gradually changing the nature of poetry from a performance before a local group to a literary artifact with an international reach. By the
Hellenistic
468:
It is not known who Mevius is nor what he is supposed to have done wrong. The name could be of a real person but it could also function like "John Doe" and thus it might be a stock figure with some special significance for the original audience. Some scholars identify him with the
Maevius rubbished
199:
symbolizing mankind's imperfections and vices, yet by then iambus seems to have been performed mainly for entertainment (our understanding of his work however might change significantly when and as more fragments are unearthed). The genre's religious and moral value was evidently not appreciated by
483:
The poem is skilfully structured. There is an introduction briefly outlining the situation (lines 1–2), a large midsection made up of curses (lines 3–14) and predictions (15–20), and finally an epilogue (21–24). Three winds (Auster, Eurus, Aquilo) are the chief figures in the main body of the poem
516:
The intricate structure of the poem reveals
Hellenistic influence. A poet of the archaic period, such as Archilochus or Hipponax, might have mentioned this or that wind but not arranged them as neatly as here, assigning each its own couplet. Moreover, the epode bears resemblance to curse poems or
312:
10 (around 30 BC) and the "Strasbourg" papyrus, a fragment attributed either to
Archilochus or Hipponax (seventh and sixth century respectively). The modern world became aware of the Greek poem only in 1899, when it was discovered by R. Reitzenstein among other papyri at the University Library of
136:
The common element in all iambus is blame, drawing attention to dangerous or unsuitable behaviours. It is addressed to an audience with shared values and customs, which are represented as under threat, as for example a body of citizens or companions. Whatever its real composition, the audience is
332:(six iambic feet) is followed by a line of iambic dimeter (four iambic feet). Here it is broken into four-line stanzas to bring out the intrinsic structure of the poem. The English translation has the same metrical couplets but the rhythm is accentual (the norm for English verse) rather than
276:
to suicide after being caricatured by him in a sculpture. Similarly the author of the
Strasbourg fragment below is motivated by revenge. Moreover, Horace's thematic variety is not without parallel among archaic poets such as Archilochus and Hipponax: the mood of the genre is meant to appear
212:
For of the two poets who for all time deserve to be compared with no other, namely Homer and Archilochus, Homer praised nearly everything ... But Archilochus went to the opposite extreme, to censure, seeing, I suppose, that men are in greater need of this, and first of all he censures
700:
10, but not all scholars are willing to go along with this view, citing the Homeric diction as a literary device and the absence of proof that the oath-breaker was ever a real man rather than just a scapegoat or imaginary exemplar. Yet the poet has made the context seem real.
218:
period, the librarian/scholar Callimachus claimed to be following the example of Hipponax yet introduced a wider range of content and a more literary and intellectual focus. He also aligned iambus more closely with other genres such as curse poetry (Ἀραί) and farewell poetry (
258:
on the work of Archilochus but he mainly followed the example of Callimachus, relying on painstaking craftsmanship rather than instinctive vitriol and broadening the range of the genre. Thus, for example he introduced a panagyric element in support of Augustus
488:). Each wind is assigned its own couplet (lines 3–8), but only the south wind is addressed. The south wind gets another mention, though by a different name, 'Notus' (line 20), so that these two mentions provide the poem with the kind of symmetry found in
133:, employing language so abusive that the goddess forgets her sorrows and laughs instead. The abuse of a divinity however is quite common in other cults too, as an ironic means of affirming piety: "Normality is reinforced by experiencing its opposite".
508:
since it implies that only Mevius ends up as rich spoil for the gulls, but other scholars argue that it is quite consistent with iambus for the whole crew to be punished on account of one offender, a result implied by the impersonal ending
828:
The phrase "too iambic" appears in a fragmentary inscription dated to the third century BC, originally part of a commemorative shrine to Archilochus, "The Archilocheion". The inscription was a part of a record of his life and reception on
180:, a term which appears to include the same root as "iambus". Early dithyrambs were a "riotous affair" and Archilochus was prominent in the controversial development of Dionyssian worship on Paros (possibly in relation to phallic rites).
176:, but she isn't prominent in his surviving poetry. Possibly he became involved in iambus via the cult of Dionysus. This cult's association with iambus seems to be indicated etymologically by the poetic form associated with Dionysus, the
480:
at a time of social and political decay. A fictional Mevius would also be consistent with iambus as a mere literary topic, where Horace makes up for the lack of any real context by adding artistic values, in the Hellenistic manner.
285:, Horace turned to a type of poetry whose function had been the affirmation of "friendship" in its community. It is doubtful whether he believed that his or anyone else's poetry could avert disaster. But he may have hoped that his
204:, who condemned Archilochus for being "sharp-tongued" and "grown fat on the harsh words of hate", yet Archilochus's brand of iambus could still find sympathetic audiences even in the first century AD, when the philosopher,
191:, probably about the middle of the seventh century, composed iambic verse on a misogynist theme, but without the invective and obscenity of Archilochus. A hundred years after Archilochus, Hipponax was composing
671:, their hair neatly dressed, in contrast to his nude friend. His skill as a wordsmith can be seen in the way he loads the beginnings of lines with key words, a trend he overturns in the final couplet, with a
86:
composed "iambic" poems against contemporary scholars, which were collected in an edition of about a thousand lines, of which fragments of thirteen poems survive. He in turn influenced Roman poets such as
27:, Antwerp 1607, showing Socrates receiving the contents of a chamberpot, and a young man bullying his elders in a boat in the background. Iambus depicted the ugly and unheroic side of humanity.
523:, fashionable in the Hellenistic period. On the other hand, Horace leaves out the heavy-handed pedantry of a craftsman like Callimachus. The epode also resembles a "farewell" poem or
313:
Strasbourg. He published it straight away, recognizing its significance and its resemblance to Horace's poem. This study however begins with Horace and it is based on comments by
172:
It isn't clear what role Archilochus played in the development of the literary genre at the beginning of the seventh century. Demeter was a significant deity in his home island,
105:
on the other hand were mainly imitations of Archilochus and, as with the Greek poet, his invectives took the forms both of private revenge and denunciation of social offenders.
663:
but it adds dignity and pathos without any artificiality. Meanings flow clearly and naturally with the simple meter, except in one place, marked with a "parenthesis" or
574:
Like Horace's epode above, the verse below is made of couplets, but the meter is a bit different. An initial line of iambic trimeter in this case is followed by a
58:
editors, however, iambus signified any poetry of an informal kind that was intended to entertain, and it seems to have been performed on similar occasions as
308:
The nature of iambus changed from one epoch to another, as becomes obvious if we compare two poems that are otherwise very similar – Horace's
272:
to have driven his would-be in-laws to suicide by his invectives after they had cheated him out of a promised marriage, and Hipponax was said to have driven
706:
seaweed, the dog, the wretched man's frozen body, is there, life-like, or rather in even sharper outlines than they would appear to us in actual life.
1583:
1542:
496:, with curses before and predictions afterwards. In some versions of the poem, Mevius continues to be addressed right to the very end, i.e.
659:
The language is vigorous and direct, appropriate to the mood of the piece. Some of the diction is borrowed from the older work of
513:
in the version here. Moreover, the impersonal ending marks a clear break between the epilogue and the main body of the poem.
696:, indicating that he spews out seaweed. Scholars often contrast the poem's realism with the artificiality of Horace's
761:
557:
Reitzenstein, the first editor of the fragment, attributed it to Archilochus but, in the following year (1900)
785:
158:
the poet, speaking in his own person, might criticize someone directly, whether a group member or an outsider;
1741:
54:. The genre featured insulting and obscene language and sometimes it is referred to as "blame poetry". For
775:
281:
In the midst of a crisis which could be seen as a result of the decline and failure of traditional Roman
161:
the poet might act out the role of someone guilty of misconduct, condemning "himself" in his own words;
1746:
164:
the poet might tell a story, combining 'self-indictments' with a narrative account of misconduct.
561:
assigned it to Hipponax. The papyrus includes, among its tattered portions, an incomplete name (
183:
There is no sure evidence about the original venue for iambic poetry but the drinking party (or
1511:
Barron, J.P.; Easterling, P.E. (1985), "Elegy and Iambus", in P. Easterling and B. Knox (ed.),
329:
810:
333:
690:, which indicates that the seaweed has a hold on the castaway. Some scholars prefer to read
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a weapon in a serious struggle became in his hands a dexterous display of literary patterns.
8:
780:
1707:
Watson, Lindsay (2007), "The Epodes: Horace's Archilochus?", in Stephen Harrison (ed.),
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55:
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would somehow 'blame' his friends and fellow citizens into at least asking themselves
1577:
1536:
944:, P.Easterling and B.Knox (eds), Cambridge University Press (1985), pages 556–57, 569
228:). Iambus was taken up as a political weapon by some public figures in Rome, such as
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489:
241:
244:, adopting the bitter tone of Archilochus, but avoiding his license and puerility.
800:
795:
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196:
101:
846:
Mankin's latin here refers to the opening to Epode 7, "Quo quo scelesti ruitis?"
534:
To sum up. Horace did not attempt to reproduce the true nature of the old Greek
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205:
63:
1735:
1550:
Bulloch, A.W. (1985), "Hellenistic Poetry", in P.Easterlin and B.Knox (ed.),
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1634:
Harrison, Stephen (2005), "Lyric and Iambic", in Stephen Harrison (ed.),
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83:
67:
43:
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240:... betook himself to iambic verse, and heaped much scornful abuse upon
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Take him in hand – there he shall have his fill of woe,
735:
731:
668:
188:
184:
177:
71:
1701:
The Suitors in the Odyssey: The Clash between Homer and Archilochus.
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Dio Chrysostom 33.11–12, cited and translated by Douglas E. Gerber,
46:
meter and whose origins modern scholars have traced to the cults of
664:
575:
475:
248:
233:
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92:
88:
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51:
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47:
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God of the southern wind – take care to pulverize
1653:
Mnemosyne Supplement 265. Leiden, The Netherlands: E. J. Brill.
1621:
Translated by A. T. Cole. Baltimore: Johns Hopkins Univ. Press.
1552:
The Cambridge History of Classical Literature: Greek Literature
1513:
The Cambridge History of Classical Literature: Greek Literature
942:
The Cambridge History of Classical Literature: Greek Literature
925:
The Cambridge History of Classical Literature: Greek Literature
470:
201:
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675:, marked by a comma, between key words justifying his hatred,
636: Slavishly eating his bread –
91:, who composed satirical epigrams that popularized Hipponax's
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Greek Elegy and Iambus: Studies in Ancient Literary Sources.
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Sprawled at the breakers' edge, still licked at by the surf!
549:
The "serious struggle" is found in the Strasbourg fragment.
129:). A figure called "Iambe" is even mentioned in the Homeric
1687:
American Classical Studies 19. Atlanta, GA: Scholars Press.
213:
himself ... ... the highest commendation from heaven.
455:
If then the rich spoil, scattered round the curving shore,
137:
cast in the role of mutual friends and their friendship (
894:, Loeb Classical Library (1999), Introduction pages i–iv
855:
The variant reading is cited for instance by D. Gerber,
452: Southern wind, breaks apart your ship!
448: And all those prayers ignored by Jove,
434: The waves the winning Greeks sailed on
1498:, Cambridge University Press (2001), page 192, note 139
684:
One of the uncertainties in the text comes in the word
443: While you change hue to a pale green,
428:
And not one friendly star appear through the dark night
416: Both its sides with horrendous waves!
78:
were among the most famous of its early exponents. The
638:
Stiff with the freezing cold; emerging from the froth,
437:
That time Athena turned her rage from smouldering Troy
425: Oaks trembling on the mountain tops,
957:, University of California Press (2005), pages 10, 33
423:
And may the north wind loom as large as when it rends
421: Some oars here, some rigging there,
650:
Because he wronged me, trampling all over our oaths,
642:
May he lie like a dog face-down on chattering teeth,
457: Lies at the pleasure of the gulls,
419:
Let the black eastern wind turn the sea upside-down,
410:
The ship casts off from shore in an ill-omened hour,
461: And lamb in honour of the Winds.
931:(eds), Cambridge University Press (1985), page 120
648: These are the things I must see,
1703:Hermeneutic Commentaries 2. New York: Peter Lang.
632: Thracians, their hair in a bun,
441:Oh what a cold damp sweating will beset your crew
1733:
439: Onto Ajax and his damned ship!
336:(the norm for classical Latin and Greek verse).
640: Clung to by piles of seaweed,
630:When he comes nude to Salmydessus, may the kind
432:May the sea carrying him be no more gentle than
412: Carrying the stinking Mevius.
1527:Brown, Christopher (1997), D.E. Gerber (ed.),
628: Drifting about in the swell;
446:And oh how woman-like will all that wailing be
328:Horace's poem is in couplets, where a line of
1674:
1549:
644: Laid low by his feebleness,
430: As Orion sinks in the west!
389: preces et aversum ad Iovem,
652: Once a companion of mine!
450:When the Ionian sea, resounding with the wet
375: quam Graia victorum manus,
362: fractosque remos differat;
357: Auster, memento fluctibus;
42:that included but was not restricted to the
881:, D.E.Gerber (ed), Leiden 1997, pages 13–88
366: frangit trementis ilices;
1685:Old Comedy and the Iambographic Tradition.
1651:The Trajectory of Archaic Greek Trimeters.
1582:: CS1 maint: location missing publisher (
1541:: CS1 maint: location missing publisher (
615: ταῦτ᾽ ἐθέλοιμ᾽ ἂν ἰδεῖν,
398: porrecta mergos iuverit,
371: qua tristis Orion cadit;
208:, compared him with Homer in these terms:
530:typical of Hellenistic poetry generally.
380: in inpiam Aiacis ratem.
62:even though lacking elegy's decorum. The
1690:
1633:
1619:Poetry and its Public in Ancient Greece.
1599:
504:instead (line 22). Some scholars prefer
459:There will be sacrifices of a lusty goat
404: et agna Tempestatibus.
353: ferens olentem Mevium.
303:
195:, a deliberately awkward version of the
108:
18:
1656:
1558:
940:A.W. Bulloch, "Hellenistic Poetry", in
617:ὅς μ᾽ ἠδίκησε, λὰξ δ᾽ ἐφ᾽ ὁρκίοισ᾽ ἔβη,
585:
583:
393: Noto carinam ruperit!
384: tibique pallor luteus
364:insurgat Aquilo, quantus altis montibus
343:
341:
1734:
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619: τὸ πρὶν ἑταῖρος ἐών.
603: δούλιον ἄρτον ἔδων -
267:13), and a suggestion of love poetry (
1722:
1624:
1526:
609:κροτέοι δ᾽ ὀδόντας, ὡς κύων ἐπὶ στόμα
607: φυκία πόλλ᾽ ἐπέχοι,
605:ῥίγει πεπηγότ᾽ αὐτόν· ἐκ δὲ τοῦ χνόου
552:
369:nec sidus atra nocte amicum appareat,
1677:Women and Humour in Classical Greece
1529:A Companion to the Greek Lyric Poets
1523:Poznań: Adam Mickiewicz Univ. Press.
1098:Women and Humour in Classical Greece
1007:A Companion to the Greek Lyric Poets
879:A Companion to the Greek Lyric Poets
595: κύματι πλαζόμενος·
355:ut horridis utrumque verberes latus,
1152:II, translated by Geoffrey Conway,
611: κείμενος ἀκρασίηι
601:λάβοιεν - ἔνθα πόλλ᾽ ἀναπλήσει κακὰ
599: Θρήϊκες ἀκρόκομοι
597:κἀν Σαλμυδησσῶι γυμνὸν εὐφρονέστατα
382:o quantus instat navitis sudor tuis
378:cum Pallas usto vertit iram ab Ilio
13:
14:
1758:
1717:Studies in Greek Elegy and Iambus
1709:The Cambridge Companion to Horace
1288:The Epodes: Horace's Archilochus?
360:niger rudentis Eurus inverso mari
1629:, University of California Press
396:opima quodsi praeda curvo litore
1646:Oxford, UK: Oxford Univ. Press.
1636:A Companion to Latin Literature
1595:, Everyman's University Library
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1475:
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154:) is asserted in various ways:
25:Quinti Horatii Flacci Emblemata
1429:Strasburg papyrus, D. Gerber,
986:
973:
960:
947:
934:
910:
897:
884:
871:
391:Ionius udo cum remugiens sinus
252:Horace nominally modelled his
1:
1570:The Odes and Epodes of Horace
1504:
981:The Odes and Epodes of Horace
726:, the great Athenian rhetor,
400:libidinosus immolabitur caper
373:quietiore nec feratur aequore
263:1 and 9), a lyrical element (
200:the fifth century lyric poet
16:Genre of ancient Greek poetry
1727:, Cambridge University Press
1711:, Cambridge University Press
1679:, Cambridge University Press
1670:, Cambridge University Press
1661:, New York: St Martins Press
1659:Horace: Poetics and Politics
1649:Kantzios, Ippokratis. 2005.
1554:, Cambridge University Press
1515:, Cambridge University Press
994:Horace: Poetics and Politics
865:
786:Resources in other libraries
387:et illa non virilis eiulatio
351:Mala soluta navis exit alite
169:of its undignified content.
7:
1699:Steinrück, Martin. (2008).
1644:Callimachus’ Book of Iambi.
755:
681:("wronged me, trampling").
320:
10:
1763:
1642:Kerkhecker, Arnd. (1999).
1519:Bartol, Krystyna. (1993).
996:, New York (1999), page 52
983:, Chicago (1960), page 196
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484:and also at the very end (
469:as a contemptible poet by
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224:
139:
121:
115:
1725:Demosthenes: On the Crown
1695:, Oxford University Press
1691:Rotstein, Andrea (2009),
1600:Fraenkel, Eduard (1997),
1591:Conway, Geoffrey (1972),
1563:, Bristol Classical Press
1496:Demosthenes: On the Crown
1325:Epode 10 from D. Mankin,
970:, Sandpiper Books Ltd, 32
781:Resources in your library
716:
1683:Rosen, Ralph M. (1988).
1613:, Loeb Classical Library
1609:Gerber, Douglas (1999),
1531:, Leiden, pp. 13–88
923:, "Elegy and Iambus" in
816:
232:, who, in an account by
1559:Cambell, David (1982),
1221:, quoted by D. Gerber,
613:ἄκρον παρὰ ῥηγμῖνα κυμα
350:
1723:Yunis, Harvey (2001),
1715:West, Martin. (1974).
1675:O'Higgins, L. (2003),
1666:Mankin, David (1995),
1657:Kiernon, V.G. (1999),
1638:, Blackwell Publishing
1617:Gentili, Bruno. 1988.
877:Christopher Brown, in
730:, denounced his rival
714:
547:
301:
246:
215:
28:
1719:. Berlin: de Gruyter.
1627:The Poems of Catullus
1625:Green, Peter (2005),
1604:, Sandpiper Books Ltd
1568:Clancy, J.P. (1960),
1236:The Poems of Catullus
1124:The Poems of Catullus
955:The Poems of Catullus
811:Category:Iambic poets
722:In his famous speech
703:
532:
500:has been taken to be
304:A tale of two ditties
279:
238:
210:
113:Originally "iambos" (
109:Historical background
22:
1742:Ancient Greek poetry
40:ancient Greek poetry
1611:Greek Iambic Poetry
1431:Greek Iambic Poetry
1405:Greek Iambic Poetry
1223:Greek Iambic Poetry
1167:Greek Iambic Poetry
1137:Greek Iambic Poetry
1111:Greek Iambic Poetry
1085:Greek Iambic Poetry
1072:Greek Iambic Poetry
1046:Greek Iambic Poetry
927:, P.Easterling and
892:Greek Iambic Poetry
890:Douglas E. Gerber,
857:Greek Iambic Poetry
835:Greek Iambic Poetry
749:devourer of insults
1693:The Idea of Iambos
1593:The Odes of Pindar
1561:Greek Lyric Poetry
1457:Greek Lyric Poetry
1392:Greek Lyric Poetry
1154:The Odes of Pindar
1059:Greek Lyric Poetry
553:Strasbourg papyrus
29:
762:Library resources
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656:
466:
465:
1754:
1747:Genres of poetry
1728:
1712:
1696:
1680:
1671:
1662:
1639:
1630:
1614:
1605:
1596:
1587:
1581:
1573:
1564:
1555:
1546:
1540:
1532:
1516:
1499:
1492:
1486:
1479:
1473:
1466:
1460:
1453:
1447:
1440:
1434:
1427:
1421:
1414:
1408:
1401:
1395:
1388:
1382:
1375:
1369:
1362:
1356:
1349:
1343:
1336:
1330:
1323:
1317:
1310:
1304:
1297:
1291:
1284:
1278:
1275:Lyric and Iambic
1271:
1265:
1258:
1252:
1249:Lyric and Iambic
1245:
1239:
1232:
1226:
1215:
1209:
1202:
1196:
1193:Lyric and Iambic
1189:
1183:
1176:
1170:
1163:
1157:
1146:
1140:
1133:
1127:
1120:
1114:
1107:
1101:
1094:
1088:
1081:
1075:
1068:
1062:
1055:
1049:
1042:
1036:
1033:Lyric and Iambic
1029:
1023:
1016:
1010:
1003:
997:
990:
984:
977:
971:
964:
958:
951:
945:
938:
932:
921:P. E. Easterling
914:
908:
901:
895:
888:
882:
875:
860:
853:
847:
844:
838:
826:
743:, signifying an
742:
741:
712:
695:
694:
689:
688:
680:
679:
621:
620:
581:
580:
566:
565:
545:
528:
527:
522:
521:
490:Ring composition
402:
339:
338:
299:
227:
226:
142:
141:
124:
123:
118:
117:
1762:
1761:
1757:
1756:
1755:
1753:
1752:
1751:
1732:
1731:
1575:
1574:
1534:
1533:
1507:
1502:
1493:
1489:
1480:
1476:
1467:
1463:
1454:
1450:
1441:
1437:
1428:
1424:
1415:
1411:
1402:
1398:
1389:
1385:
1376:
1372:
1363:
1359:
1350:
1346:
1337:
1333:
1324:
1320:
1311:
1307:
1298:
1294:
1285:
1281:
1272:
1268:
1259:
1255:
1246:
1242:
1233:
1229:
1216:
1212:
1203:
1199:
1190:
1186:
1177:
1173:
1164:
1160:
1147:
1143:
1134:
1130:
1121:
1117:
1108:
1104:
1095:
1091:
1082:
1078:
1069:
1065:
1056:
1052:
1043:
1039:
1030:
1026:
1017:
1013:
1004:
1000:
991:
987:
978:
974:
965:
961:
952:
948:
939:
935:
915:
911:
902:
898:
889:
885:
876:
872:
868:
863:
854:
850:
845:
841:
827:
823:
819:
801:Epodes (Horace)
796:Prosody (Latin)
792:
791:
790:
770:
769:
765:
758:
745:iambus devourer
719:
713:
710:
678:μ᾽ ἠδίκησε, λὰξ
651:
649:
647:
645:
643:
641:
639:
637:
635:
633:
631:
629:
627:
618:
616:
614:
612:
610:
608:
606:
604:
602:
600:
598:
596:
592:
559:Friedrich Blass
555:
546:
544:Eduard Fraenkel
543:
460:
458:
456:
454:
453:
451:
449:
447:
445:
444:
442:
440:
438:
436:
435:
433:
431:
429:
427:
426:
424:
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420:
418:
417:
415:
413:
411:
405:
403:
399:
397:
395:
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388:
386:
385:
383:
381:
379:
377:
376:
374:
372:
370:
368:
367:
365:
363:
361:
359:
358:
356:
354:
352:
330:iambic trimeter
326:
315:Eduard Fraenkel
306:
300:
297:
197:iambic trimeter
131:Hymn to Demeter
111:
38:was a genre of
23:Engraving from
17:
12:
11:
5:
1760:
1750:
1749:
1744:
1730:
1729:
1720:
1713:
1704:
1697:
1688:
1681:
1672:
1668:Horace: Epodes
1663:
1654:
1647:
1640:
1631:
1622:
1615:
1606:
1597:
1588:
1565:
1556:
1547:
1524:
1517:
1506:
1503:
1501:
1500:
1494:Harvey Yunis,
1487:
1474:
1470:Horace: Epodes
1461:
1448:
1435:
1422:
1409:
1396:
1383:
1370:
1357:
1344:
1340:Horace: Epodes
1331:
1327:Horace: Epodes
1318:
1305:
1301:Horace: Epodes
1292:
1279:
1266:
1253:
1240:
1227:
1210:
1197:
1184:
1171:
1158:
1141:
1128:
1115:
1102:
1096:L. O'Higgins,
1089:
1076:
1063:
1050:
1037:
1024:
1020:Horace: Epodes
1011:
998:
992:V.G. Kiernan,
985:
972:
959:
946:
933:
909:
905:Horace: Epodes
896:
883:
869:
867:
864:
862:
861:
848:
839:
820:
818:
815:
814:
813:
808:
803:
798:
789:
788:
783:
778:
772:
771:
760:
759:
757:
754:
753:
752:
718:
715:
708:
655:
654:
623:
587:
586:
584:
554:
551:
541:
464:
463:
407:
345:
344:
342:
325:
319:
305:
302:
295:
230:Cato the Elder
206:Dio Chrysostom
166:
165:
162:
159:
110:
107:
15:
9:
6:
4:
3:
2:
1759:
1748:
1745:
1743:
1740:
1739:
1737:
1726:
1721:
1718:
1714:
1710:
1705:
1702:
1698:
1694:
1689:
1686:
1682:
1678:
1673:
1669:
1664:
1660:
1655:
1652:
1648:
1645:
1641:
1637:
1632:
1628:
1623:
1620:
1616:
1612:
1607:
1603:
1598:
1594:
1589:
1585:
1579:
1571:
1566:
1562:
1557:
1553:
1548:
1544:
1538:
1530:
1525:
1522:
1518:
1514:
1509:
1508:
1497:
1491:
1484:
1481:E. Fraenkel,
1478:
1471:
1465:
1458:
1455:D. Campbell,
1452:
1445:
1442:E. Fraenkel,
1439:
1432:
1426:
1419:
1416:E. Fraenkel,
1413:
1406:
1400:
1393:
1390:D. Campbell,
1387:
1380:
1377:E. Fraenkel,
1374:
1367:
1364:E. Fraenkel,
1361:
1354:
1351:E. Fraenkel,
1348:
1341:
1335:
1328:
1322:
1315:
1312:E. Fraenkel,
1309:
1302:
1296:
1289:
1283:
1276:
1273:S. Harrison,
1270:
1263:
1260:E. Fraenkel,
1257:
1250:
1247:S. Harrison,
1244:
1237:
1231:
1224:
1220:
1214:
1207:
1204:E. Fraenkel,
1201:
1194:
1191:S. Harrison,
1188:
1181:
1178:E. Fraenkel,
1175:
1168:
1162:
1155:
1151:
1145:
1138:
1132:
1125:
1119:
1112:
1106:
1099:
1093:
1086:
1080:
1073:
1067:
1060:
1057:D. Campbell,
1054:
1047:
1041:
1034:
1031:S. Harrison,
1028:
1021:
1015:
1008:
1002:
995:
989:
982:
979:J.P. Clancy,
976:
969:
966:E. Fraenkel,
963:
956:
953:Peter Green,
950:
943:
937:
930:
926:
922:
918:
913:
906:
900:
893:
887:
880:
874:
870:
858:
852:
843:
836:
832:
825:
821:
812:
809:
807:
804:
802:
799:
797:
794:
793:
787:
784:
782:
779:
777:
774:
773:
768:
763:
750:
746:
737:
733:
729:
725:
721:
720:
707:
702:
699:
682:
674:
670:
666:
662:
653:
624:
622:
589:
582:
579:
577:
572:
570:
560:
550:
540:
537:
531:
514:
512:
507:
503:
499:
495:
491:
487:
481:
478:
477:
472:
462:
408:
406:
401:
347:
340:
337:
335:
331:
323:
318:
316:
311:
294:
292:
288:
284:
278:
275:
270:
266:
262:
257:
256:
250:
245:
243:
237:
235:
231:
221:
214:
209:
207:
203:
198:
194:
190:
186:
181:
179:
175:
170:
163:
160:
157:
156:
155:
153:
150:
146:
134:
132:
128:
106:
104:
103:
98:
94:
90:
85:
81:
77:
73:
69:
65:
64:Archaic Greek
61:
57:
53:
49:
45:
41:
37:
36:iambic poetry
33:
26:
21:
1724:
1716:
1708:
1700:
1692:
1684:
1676:
1667:
1658:
1650:
1643:
1635:
1626:
1618:
1610:
1601:
1592:
1569:
1560:
1551:
1528:
1520:
1512:
1495:
1490:
1482:
1477:
1469:
1464:
1456:
1451:
1443:
1438:
1430:
1425:
1417:
1412:
1404:
1399:
1391:
1386:
1378:
1373:
1365:
1360:
1352:
1347:
1339:
1334:
1326:
1321:
1313:
1308:
1300:
1295:
1287:
1282:
1274:
1269:
1261:
1256:
1248:
1243:
1235:
1230:
1222:
1219:Life of Cato
1218:
1213:
1205:
1200:
1192:
1187:
1179:
1174:
1166:
1161:
1153:
1149:
1144:
1136:
1131:
1123:
1118:
1110:
1105:
1097:
1092:
1084:
1079:
1071:
1066:
1058:
1053:
1045:
1040:
1032:
1027:
1019:
1014:
1006:
1005:C. Brown in
1001:
993:
988:
980:
975:
967:
962:
954:
949:
941:
936:
924:
917:J. P. Barron
912:
904:
899:
891:
886:
878:
873:
856:
851:
842:
834:
824:
776:Online books
766:
748:
744:
740:ἰαμβειοφάγος
724:On the Crown
711:E. Fraenkel.
704:
697:
683:
658:
625:
590:
573:
568:
556:
548:
535:
533:
526:προπεμπτικόν
515:
510:
505:
501:
497:
494:piano nobile
485:
482:
474:
467:
409:
348:
334:quantitative
327:
321:
309:
307:
290:
286:
282:
280:
268:
264:
260:
253:
247:
239:
219:
216:
211:
182:
171:
167:
151:
144:
135:
127:aischrologia
126:
112:
100:
35:
31:
30:
24:
1468:D. Mankin,
1403:D. Gerber,
1338:D. Mankin,
1299:D. Mankin,
1286:L. Watson,
1135:D. Gerber,
1109:D. Gerber,
1083:D. Gerber,
1070:D. Gerber,
1044:D. Gerber,
1018:D. Mankin,
903:D. Mankin,
728:Demosthenes
486:Tempestates
225:προπέμπτικα
220:propemptika
122:αἰσχρολογία
84:Callimachus
80:Alexandrian
68:Archilochus
56:Alexandrian
1736:Categories
1505:References
1234:P. Green,
1217:Plutarch,
1122:P. Green,
907:,C.U.P., 8
291:quo ruitis
1572:, Chicago
1433:, 436-438
866:Citations
736:neologism
734:with the
732:Aeschines
669:Thracians
569:Hippona..
298:D. Mankin
193:choliambs
189:Semonides
185:symposium
178:dithyramb
72:Semonides
1578:citation
1537:citation
1277:, 192–94
1238:, 10, 33
1148:Pindar,
1126:, 10, 33
756:See also
709:—
576:hemiepes
564:Ἱππωνά..
542:—
476:Eclogues
296:—
283:amicitia
249:Neoteric
234:Plutarch
152:amicitia
145:philotēs
93:choliamb
89:Catullus
76:Hipponax
52:Dionysus
1485:, 28–29
1342:, 183–4
1316:, 25–35
1150:Pythian
929:B. Knox
837:, 16–25
693:ἐπιχέοι
673:caesura
511:iuverit
506:iuveris
502:iuveris
498:iuverit
274:Bupalus
140:φιλότης
48:Demeter
1602:Horace
1483:Horace
1446:, 28–9
1444:Horace
1420:, 28–9
1418:Horace
1381:, 35-6
1379:Horace
1368:, 32–3
1366:Horace
1353:Horace
1329:, 38-9
1314:Horace
1262:Horace
1206:Horace
1180:Horace
968:Horace
767:Iambus
764:about
717:Extras
687:ἐπέχοι
665:endash
536:iambus
471:Virgil
269:Epodes
261:Epodes
255:Epodes
242:Scipio
202:Pindar
116:ἴαμβος
102:Epodes
97:Horace
66:poets
44:iambic
32:Iambus
1472:, 182
1459:, 157
1407:, 437
1394:, 157
1251:, 192
1195:, 190
1113:, 7–8
1061:, 138
1048:, 2–3
1035:, 190
1022:, 8–9
919:and
859:, 438
831:Paros
817:Notes
806:Epode
698:Epode
661:Homer
591:.....
322:Epode
310:Epode
287:iambi
265:Epode
174:Paros
149:Latin
82:poet
60:elegy
1584:link
1543:link
1355:, 42
1290:, 99
1264:, 32
1208:, 35
1182:, 41
1169:, 43
1156:, 93
1100:, 63
1009:, 41
626:....
520:Ἀραί
74:and
50:and
1303:, 9
1225:, 1
1139:, 2
1087:, 4
1074:, 3
747:or
473:in
147:or
99:'s
34:or
1738::
1580:}}
1576:{{
1539:}}
1535:{{
567:,
324:10
317:.
236::
222:,
143:,
125:,
95:.
70:,
1586:)
1545:)
751:.
293:?
259:(
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