589:(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.
31:
844:, 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,
130:) 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 (
582:), 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.
503:. 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
288:
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:
678:, 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
198:) 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.
716:
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
540:
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
490:
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
179:
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
549:
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
282:
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
262:
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.
228:
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
479:
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
210:
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
494:
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
527:
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
323:
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
147:
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
343:(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
287:
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
223:
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
711:
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.
229:
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 (
269:
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
499:). 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
144:, 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".
519:
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
839:
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
191:, 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).
187:, 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
491:
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.
296:, 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
215:, 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,
202:, 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
682:, 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
97:
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
38:, 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.
534:, 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
324:
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
183:
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,
116:
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.
674:
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
585:
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
1594:
1553:
69:
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
319:
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
283:
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
717:
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.
507:, with curses before and predictions afterwards. In some versions of the poem, Mevius continues to be addressed right to the very end, i.e.
772:
670:
The language is vigorous and direct, appropriate to the mood of the piece. Some of the diction is borrowed from the older work of
524:
in the version here. Moreover, the impersonal ending marks a clear break between the epilogue and the main body of the poem.
1752:
707:, indicating that he spews out seaweed. Scholars often contrast the poem's realism with the artificiality of Horace's
1757:
568:
Reitzenstein, the first editor of the fragment, attributed it to Archilochus but, in the following year (1900)
796:
169:
the poet, speaking in his own person, might criticize someone directly, whether a group member or an outsider;
65:. The genre featured insulting and obscene language and sometimes it is referred to as "blame poetry". For
786:
292:
In the midst of a crisis which could be seen as a result of the decline and failure of traditional Roman
821:
172:
the poet might act out the role of someone guilty of misconduct, condemning "himself" in his own words;
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the poet might tell a story, combining 'self-indictments' with a narrative account of misconduct.
90:
66:
572:
assigned it to Hipponax. The papyrus includes, among its tattered portions, an incomplete name (
194:
There is no sure evidence about the original venue for iambic poetry but the drinking party (or
1522:
Barron, J.P.; Easterling, P.E. (1985), "Elegy and Iambus", in P. Easterling and B. Knox (ed.),
1588:
1547:
931:
701:, 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.
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1718:
Watson, Lindsay (2007), "The Epodes: Horace's Archilochus?", in Stephen Harrison (ed.),
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216:
74:
30:
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would somehow 'blame' his friends and fellow citizens into at least asking themselves
1746:
955:, P.Easterling and B.Knox (eds), Cambridge University Press (1985), pages 556–57, 569
239:). Iambus was taken up as a political weapon by some public figures in Rome, such as
141:
939:
927:
734:
504:
255:, adopting the bitter tone of Archilochus, but avoiding his license and puerility.
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Mankin's latin here refers to the opening to Epode 7, "Quo quo scelesti ruitis?"
738:
545:
To sum up. Horace did not attempt to reproduce the true nature of the old Greek
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78:
54:
50:
1561:
Bulloch, A.W. (1985), "Hellenistic Poetry", in P.Easterlin and B.Knox (ed.),
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742:
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Harrison, Stephen (2005), "Lyric and Iambic", in Stephen Harrison (ed.),
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251:... 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,
481:
212:
107:
1712:
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,
57:
meter and whose origins modern scholars have traced to the cults of
841:
816:
671:
184:
159:
70:
29:
425:
God of the southern wind – take care to pulverize
1664:
Mnemosyne Supplement 265. Leiden, The Netherlands: E. J. Brill.
1632:
Translated by A. T. Cole. Baltimore: Johns Hopkins Univ. Press.
1563:
The Cambridge History of Classical Literature: Greek Literature
1524:
The Cambridge History of Classical Literature: Greek Literature
953:
The Cambridge History of Classical Literature: Greek Literature
936:
The Cambridge History of Classical Literature: Greek Literature
686:, marked by a comma, between key words justifying his hatred,
647: Slavishly eating his bread –
102:, who composed satirical epigrams that popularized Hipponax's
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1532:
Greek Elegy and Iambus: Studies in Ancient Literary Sources.
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Sprawled at the breakers' edge, still licked at by the surf!
560:
The "serious struggle" is found in the Strasbourg fragment.
140:). A figure called "Iambe" is even mentioned in the Homeric
1698:
American Classical Studies 19. Atlanta, GA: Scholars Press.
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himself ... ... the highest commendation from heaven.
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If then the rich spoil, scattered round the curving shore,
148:
cast in the role of mutual friends and their friendship (
905:, Loeb Classical Library (1999), Introduction pages i–iv
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The variant reading is cited for instance by D. Gerber,
463: Southern wind, breaks apart your ship!
459: And all those prayers ignored by Jove,
445: The waves the winning Greeks sailed on
1509:, Cambridge University Press (2001), page 192, note 139
695:
One of the uncertainties in the text comes in the word
454: While you change hue to a pale green,
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And not one friendly star appear through the dark night
427: Both its sides with horrendous waves!
89:
were among the most famous of its early exponents. The
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Stiff with the freezing cold; emerging from the froth,
448:
That time Athena turned her rage from smouldering Troy
436: Oaks trembling on the mountain tops,
968:, University of California Press (2005), pages 10, 33
434:
And may the north wind loom as large as when it rends
432: Some oars here, some rigging there,
661:
Because he wronged me, trampling all over our oaths,
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May he lie like a dog face-down on chattering teeth,
468: Lies at the pleasure of the gulls,
430:
Let the black eastern wind turn the sea upside-down,
421:
The ship casts off from shore in an ill-omened hour,
472: And lamb in honour of the Winds.
942:(eds), Cambridge University Press (1985), page 120
659: These are the things I must see,
1714:Hermeneutic Commentaries 2. New York: Peter Lang.
643: Thracians, their hair in a bun,
452:Oh what a cold damp sweating will beset your crew
450: Onto Ajax and his damned ship!
347:(the norm for classical Latin and Greek verse).
714:
651: Clung to by piles of seaweed,
641:When he comes nude to Salmydessus, may the kind
543:
443:May the sea carrying him be no more gentle than
423: Carrying the stinking Mevius.
290:
249:
221:
1538:Brown, Christopher (1997), D.E. Gerber (ed.),
639: Drifting about in the swell;
457:And oh how woman-like will all that wailing be
339:Horace's poem is in couplets, where a line of
655: Laid low by his feebleness,
441: As Orion sinks in the west!
400: preces et aversum ad Iovem,
8:
663: Once a companion of mine!
461:When the Ionian sea, resounding with the wet
386: quam Graia victorum manus,
373: fractosque remos differat;
368: Auster, memento fluctibus;
53:that included but was not restricted to the
892:, D.E.Gerber (ed), Leiden 1997, pages 13–88
377: frangit trementis ilices;
1696:Old Comedy and the Iambographic Tradition.
1662:The Trajectory of Archaic Greek Trimeters.
1593:: CS1 maint: location missing publisher (
1552:: CS1 maint: location missing publisher (
626: ταῦτ᾽ ἐθέλοιμ᾽ ἂν ἰδεῖν,
409: porrecta mergos iuverit,
382: qua tristis Orion cadit;
219:, compared him with Homer in these terms:
541:typical of Hellenistic poetry generally.
391: in inpiam Aiacis ratem.
73:even though lacking elegy's decorum. The
1630:Poetry and its Public in Ancient Greece.
515:instead (line 22). Some scholars prefer
470:There will be sacrifices of a lusty goat
415: et agna Tempestatibus.
364: ferens olentem Mevium.
206:, a deliberately awkward version of the
951:A.W. Bulloch, "Hellenistic Poetry", in
881:
832:
628:ὅς μ᾽ ἠδίκησε, λὰξ δ᾽ ἐφ᾽ ὁρκίοισ᾽ ἔβη,
596:
594:
404: Noto carinam ruperit!
395: tibique pallor luteus
375:insurgat Aquilo, quantus altis montibus
354:
352:
1586:
1545:
630: τὸ πρὶν ἑταῖρος ἐών.
614: δούλιον ἄρτον ἔδων -
278:13), and a suggestion of love poetry (
620:κροτέοι δ᾽ ὀδόντας, ὡς κύων ἐπὶ στόμα
618: φυκία πόλλ᾽ ἐπέχοι,
616:ῥίγει πεπηγότ᾽ αὐτόν· ἐκ δὲ τοῦ χνόου
380:nec sidus atra nocte amicum appareat,
7:
1688:Women and Humour in Classical Greece
1540:A Companion to the Greek Lyric Poets
1534:Poznań: Adam Mickiewicz Univ. Press.
1109:Women and Humour in Classical Greece
1018:A Companion to the Greek Lyric Poets
890:A Companion to the Greek Lyric Poets
606: κύματι πλαζόμενος·
366:ut horridis utrumque verberes latus,
1163:II, translated by Geoffrey Conway,
622: κείμενος ἀκρασίηι
612:λάβοιεν - ἔνθα πόλλ᾽ ἀναπλήσει κακὰ
610: Θρήϊκες ἀκρόκομοι
608:κἀν Σαλμυδησσῶι γυμνὸν εὐφρονέστατα
393:o quantus instat navitis sudor tuis
389:cum Pallas usto vertit iram ab Ilio
25:
1728:Studies in Greek Elegy and Iambus
1720:The Cambridge Companion to Horace
1299:The Epodes: Horace's Archilochus?
371:niger rudentis Eurus inverso mari
1640:, University of California Press
407:opima quodsi praeda curvo litore
1657:Oxford, UK: Oxford Univ. Press.
1647:A Companion to Latin Literature
1606:, Everyman's University Library
165:) is asserted in various ways:
36:Quinti Horatii Flacci Emblemata
1440:Strasburg papyrus, D. Gerber,
402:Ionius udo cum remugiens sinus
263:Horace nominally modelled his
1:
1581:The Odes and Epodes of Horace
992:The Odes and Epodes of Horace
737:, the great Athenian rhetor,
411:libidinosus immolabitur caper
384:quietiore nec feratur aequore
274:1 and 9), a lyrical element (
211:the fifth century lyric poet
27:Genre of ancient Greek poetry
1738:, Cambridge University Press
1722:, Cambridge University Press
1690:, Cambridge University Press
1681:, Cambridge University Press
1672:, New York: St Martins Press
1670:Horace: Poetics and Politics
1660:Kantzios, Ippokratis. 2005.
1565:, Cambridge University Press
1526:, Cambridge University Press
1005:Horace: Poetics and Politics
797:Resources in other libraries
398:et illa non virilis eiulatio
362:Mala soluta navis exit alite
180:of its undignified content.
1710:Steinrück, Martin. (2008).
1655:Callimachus’ Book of Iambi.
692:("wronged me, trampling").
1774:
1653:Kerkhecker, Arnd. (1999).
1530:Bartol, Krystyna. (1993).
1007:, New York (1999), page 52
994:, Chicago (1960), page 196
750:
703:
697:
688:
605:
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536:
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495:and also at the very end (
480:as a contemptible poet by
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1736:Demosthenes: On the Crown
1706:, Oxford University Press
1702:Rotstein, Andrea (2009),
1611:Fraenkel, Eduard (1997),
1602:Conway, Geoffrey (1972),
1574:, Bristol Classical Press
1507:Demosthenes: On the Crown
1336:Epode 10 from D. Mankin,
981:, Sandpiper Books Ltd, 32
792:Resources in your library
1694:Rosen, Ralph M. (1988).
1624:, Loeb Classical Library
1620:Gerber, Douglas (1999),
1542:, Leiden, pp. 13–88
934:, "Elegy and Iambus" in
243:, who, in an account by
1570:Cambell, David (1982),
1232:, quoted by D. Gerber,
624:ἄκρον παρὰ ῥηγμῖνα κυμα
361:
1734:Yunis, Harvey (2001),
1726:West, Martin. (1974).
1686:O'Higgins, L. (2003),
1677:Mankin, David (1995),
1668:Kiernon, V.G. (1999),
1649:, Blackwell Publishing
1628:Gentili, Bruno. 1988.
888:Christopher Brown, in
741:, denounced his rival
725:
558:
312:
257:
226:
39:
1730:. Berlin: de Gruyter.
1638:The Poems of Catullus
1636:Green, Peter (2005),
1615:, Sandpiper Books Ltd
1579:Clancy, J.P. (1960),
1247:The Poems of Catullus
1135:The Poems of Catullus
966:The Poems of Catullus
822:Category:Iambic poets
733:In his famous speech
511:has been taken to be
315:A tale of two ditties
124:Originally "iambos" (
120:Historical background
33:
1753:Ancient Greek poetry
51:ancient Greek poetry
1622:Greek Iambic Poetry
1442:Greek Iambic Poetry
1416:Greek Iambic Poetry
1234:Greek Iambic Poetry
1178:Greek Iambic Poetry
1148:Greek Iambic Poetry
1122:Greek Iambic Poetry
1096:Greek Iambic Poetry
1083:Greek Iambic Poetry
1057:Greek Iambic Poetry
938:, P.Easterling and
903:Greek Iambic Poetry
901:Douglas E. Gerber,
868:Greek Iambic Poetry
846:Greek Iambic Poetry
760:devourer of insults
1704:The Idea of Iambos
1604:The Odes of Pindar
1572:Greek Lyric Poetry
1468:Greek Lyric Poetry
1403:Greek Lyric Poetry
1165:The Odes of Pindar
1070:Greek Lyric Poetry
564:Strasbourg papyrus
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773:Library resources
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1758:Genres of poetry
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1226:
1220:
1213:
1207:
1204:Lyric and Iambic
1200:
1194:
1187:
1181:
1174:
1168:
1157:
1151:
1144:
1138:
1131:
1125:
1118:
1112:
1105:
1099:
1092:
1086:
1079:
1073:
1066:
1060:
1053:
1047:
1044:Lyric and Iambic
1040:
1034:
1027:
1021:
1014:
1008:
1001:
995:
988:
982:
975:
969:
962:
956:
949:
943:
932:P. E. Easterling
925:
919:
912:
906:
899:
893:
886:
871:
864:
858:
855:
849:
837:
754:, signifying an
753:
752:
723:
706:
705:
700:
699:
691:
690:
632:
631:
592:
591:
577:
576:
556:
539:
538:
533:
532:
501:Ring composition
413:
350:
349:
310:
238:
237:
153:
152:
135:
134:
129:
128:
21:
1773:
1772:
1768:
1767:
1766:
1764:
1763:
1762:
1743:
1742:
1733:
1717:
1701:
1685:
1676:
1667:
1644:
1635:
1619:
1610:
1601:
1585:
1578:
1569:
1560:
1544:
1537:
1521:
1518:
1513:
1504:
1500:
1491:
1487:
1478:
1474:
1465:
1461:
1452:
1448:
1439:
1435:
1426:
1422:
1413:
1409:
1400:
1396:
1387:
1383:
1374:
1370:
1361:
1357:
1348:
1344:
1335:
1331:
1322:
1318:
1309:
1305:
1296:
1292:
1283:
1279:
1270:
1266:
1257:
1253:
1244:
1240:
1227:
1223:
1214:
1210:
1201:
1197:
1188:
1184:
1175:
1171:
1158:
1154:
1145:
1141:
1132:
1128:
1119:
1115:
1106:
1102:
1093:
1089:
1080:
1076:
1067:
1063:
1054:
1050:
1041:
1037:
1028:
1024:
1015:
1011:
1002:
998:
989:
985:
976:
972:
963:
959:
950:
946:
926:
922:
913:
909:
900:
896:
887:
883:
879:
874:
865:
861:
856:
852:
838:
834:
830:
812:Epodes (Horace)
807:Prosody (Latin)
803:
802:
801:
781:
780:
776:
769:
756:iambus devourer
730:
724:
721:
689:μ᾽ ἠδίκησε, λὰξ
662:
660:
658:
656:
654:
652:
650:
648:
646:
644:
642:
640:
638:
629:
627:
625:
623:
621:
619:
617:
615:
613:
611:
609:
607:
603:
570:Friedrich Blass
566:
557:
555:Eduard Fraenkel
554:
471:
469:
467:
465:
464:
462:
460:
458:
456:
455:
453:
451:
449:
447:
446:
444:
442:
440:
438:
437:
435:
433:
431:
429:
428:
426:
424:
422:
416:
414:
410:
408:
406:
405:
403:
401:
399:
397:
396:
394:
392:
390:
388:
387:
385:
383:
381:
379:
378:
376:
374:
372:
370:
369:
367:
365:
363:
341:iambic trimeter
337:
326:Eduard Fraenkel
317:
311:
308:
208:iambic trimeter
142:Hymn to Demeter
122:
49:was a genre of
34:Engraving from
28:
23:
22:
15:
12:
11:
5:
1771:
1769:
1761:
1760:
1755:
1745:
1744:
1741:
1740:
1731:
1724:
1715:
1708:
1699:
1692:
1683:
1679:Horace: Epodes
1674:
1665:
1658:
1651:
1642:
1633:
1626:
1617:
1608:
1599:
1576:
1567:
1558:
1535:
1528:
1517:
1514:
1512:
1511:
1505:Harvey Yunis,
1498:
1485:
1481:Horace: Epodes
1472:
1459:
1446:
1433:
1420:
1407:
1394:
1381:
1368:
1355:
1351:Horace: Epodes
1342:
1338:Horace: Epodes
1329:
1316:
1312:Horace: Epodes
1303:
1290:
1277:
1264:
1251:
1238:
1221:
1208:
1195:
1182:
1169:
1152:
1139:
1126:
1113:
1107:L. O'Higgins,
1100:
1087:
1074:
1061:
1048:
1035:
1031:Horace: Epodes
1022:
1009:
1003:V.G. Kiernan,
996:
983:
970:
957:
944:
920:
916:Horace: Epodes
907:
894:
880:
878:
875:
873:
872:
859:
850:
831:
829:
826:
825:
824:
819:
814:
809:
800:
799:
794:
789:
783:
782:
771:
770:
768:
765:
764:
763:
729:
726:
719:
666:
665:
634:
598:
597:
595:
565:
562:
552:
475:
474:
418:
356:
355:
353:
336:
330:
316:
313:
306:
241:Cato the Elder
217:Dio Chrysostom
177:
176:
173:
170:
121:
118:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1770:
1759:
1756:
1754:
1751:
1750:
1748:
1737:
1732:
1729:
1725:
1721:
1716:
1713:
1709:
1705:
1700:
1697:
1693:
1689:
1684:
1680:
1675:
1671:
1666:
1663:
1659:
1656:
1652:
1648:
1643:
1639:
1634:
1631:
1627:
1623:
1618:
1614:
1609:
1605:
1600:
1596:
1590:
1582:
1577:
1573:
1568:
1564:
1559:
1555:
1549:
1541:
1536:
1533:
1529:
1525:
1520:
1519:
1515:
1508:
1502:
1499:
1495:
1492:E. Fraenkel,
1489:
1486:
1482:
1476:
1473:
1469:
1466:D. Campbell,
1463:
1460:
1456:
1453:E. Fraenkel,
1450:
1447:
1443:
1437:
1434:
1430:
1427:E. Fraenkel,
1424:
1421:
1417:
1411:
1408:
1404:
1401:D. Campbell,
1398:
1395:
1391:
1388:E. Fraenkel,
1385:
1382:
1378:
1375:E. Fraenkel,
1372:
1369:
1365:
1362:E. Fraenkel,
1359:
1356:
1352:
1346:
1343:
1339:
1333:
1330:
1326:
1323:E. Fraenkel,
1320:
1317:
1313:
1307:
1304:
1300:
1294:
1291:
1287:
1284:S. Harrison,
1281:
1278:
1274:
1271:E. Fraenkel,
1268:
1265:
1261:
1258:S. Harrison,
1255:
1252:
1248:
1242:
1239:
1235:
1231:
1225:
1222:
1218:
1215:E. Fraenkel,
1212:
1209:
1205:
1202:S. Harrison,
1199:
1196:
1192:
1189:E. Fraenkel,
1186:
1183:
1179:
1173:
1170:
1166:
1162:
1156:
1153:
1149:
1143:
1140:
1136:
1130:
1127:
1123:
1117:
1114:
1110:
1104:
1101:
1097:
1091:
1088:
1084:
1078:
1075:
1071:
1068:D. Campbell,
1065:
1062:
1058:
1052:
1049:
1045:
1042:S. Harrison,
1039:
1036:
1032:
1026:
1023:
1019:
1013:
1010:
1006:
1000:
997:
993:
990:J.P. Clancy,
987:
984:
980:
977:E. Fraenkel,
974:
971:
967:
964:Peter Green,
961:
958:
954:
948:
945:
941:
937:
933:
929:
924:
921:
917:
911:
908:
904:
898:
895:
891:
885:
882:
876:
869:
863:
860:
854:
851:
847:
843:
836:
833:
827:
823:
820:
818:
815:
813:
810:
808:
805:
804:
798:
795:
793:
790:
788:
785:
784:
779:
774:
766:
761:
757:
748:
744:
740:
736:
732:
731:
727:
718:
713:
710:
693:
685:
681:
677:
673:
664:
635:
633:
600:
593:
590:
588:
583:
581:
571:
563:
561:
551:
548:
542:
525:
523:
518:
514:
510:
506:
502:
498:
492:
489:
488:
483:
473:
419:
417:
412:
358:
351:
348:
346:
342:
334:
331:
329:
327:
322:
314:
305:
303:
299:
295:
289:
286:
281:
277:
273:
268:
267:
261:
256:
254:
248:
246:
242:
232:
225:
220:
218:
214:
209:
205:
201:
197:
192:
190:
186:
181:
174:
171:
168:
167:
166:
164:
161:
157:
145:
143:
139:
119:
117:
115:
114:
109:
105:
101:
96:
92:
88:
84:
80:
76:
75:Archaic Greek
72:
68:
64:
60:
56:
52:
48:
47:iambic poetry
44:
37:
32:
19:
18:Iambic poetry
1735:
1727:
1719:
1711:
1703:
1695:
1687:
1678:
1669:
1661:
1654:
1646:
1637:
1629:
1621:
1612:
1603:
1580:
1571:
1562:
1539:
1531:
1523:
1506:
1501:
1493:
1488:
1480:
1475:
1467:
1462:
1454:
1449:
1441:
1436:
1428:
1423:
1415:
1410:
1402:
1397:
1389:
1384:
1376:
1371:
1363:
1358:
1350:
1345:
1337:
1332:
1324:
1319:
1311:
1306:
1298:
1293:
1285:
1280:
1272:
1267:
1259:
1254:
1246:
1241:
1233:
1230:Life of Cato
1229:
1224:
1216:
1211:
1203:
1198:
1190:
1185:
1177:
1172:
1164:
1160:
1155:
1147:
1142:
1134:
1129:
1121:
1116:
1108:
1103:
1095:
1090:
1082:
1077:
1069:
1064:
1056:
1051:
1043:
1038:
1030:
1025:
1017:
1016:C. Brown in
1012:
1004:
999:
991:
986:
978:
973:
965:
960:
952:
947:
935:
928:J. P. Barron
923:
915:
910:
902:
897:
889:
884:
867:
862:
853:
845:
835:
787:Online books
777:
759:
755:
751:ἰαμβειοφάγος
735:On the Crown
722:E. Fraenkel.
715:
708:
694:
669:
636:
601:
584:
579:
567:
559:
546:
544:
537:προπεμπτικόν
526:
521:
516:
512:
508:
505:piano nobile
496:
493:
485:
478:
420:
359:
345:quantitative
338:
332:
320:
318:
301:
297:
293:
291:
279:
275:
271:
264:
258:
250:
230:
227:
222:
193:
182:
178:
162:
155:
146:
138:aischrologia
137:
123:
111:
46:
42:
41:
35:
1479:D. Mankin,
1414:D. Gerber,
1349:D. Mankin,
1310:D. Mankin,
1297:L. Watson,
1146:D. Gerber,
1120:D. Gerber,
1094:D. Gerber,
1081:D. Gerber,
1055:D. Gerber,
1029:D. Mankin,
914:D. Mankin,
739:Demosthenes
497:Tempestates
236:προπέμπτικα
231:propemptika
133:αἰσχρολογία
95:Callimachus
91:Alexandrian
79:Archilochus
67:Alexandrian
1747:Categories
1516:References
1245:P. Green,
1228:Plutarch,
1133:P. Green,
918:,C.U.P., 8
302:quo ruitis
1583:, Chicago
1444:, 436-438
877:Citations
747:neologism
745:with the
743:Aeschines
680:Thracians
580:Hippona..
309:D. Mankin
204:choliambs
200:Semonides
196:symposium
189:dithyramb
83:Semonides
1589:citation
1548:citation
1288:, 192–94
1249:, 10, 33
1159:Pindar,
1137:, 10, 33
767:See also
720:—
587:hemiepes
575:Ἱππωνά..
553:—
487:Eclogues
307:—
294:amicitia
260:Neoteric
245:Plutarch
163:amicitia
156:philotēs
104:choliamb
100:Catullus
87:Hipponax
63:Dionysus
1496:, 28–29
1353:, 183–4
1327:, 25–35
1161:Pythian
940:B. Knox
848:, 16–25
704:ἐπιχέοι
684:caesura
522:iuverit
517:iuveris
513:iuveris
509:iuverit
285:Bupalus
151:φιλότης
59:Demeter
1613:Horace
1494:Horace
1457:, 28–9
1455:Horace
1431:, 28–9
1429:Horace
1392:, 35-6
1390:Horace
1379:, 32–3
1377:Horace
1364:Horace
1340:, 38-9
1325:Horace
1273:Horace
1217:Horace
1191:Horace
979:Horace
778:Iambus
775:about
728:Extras
698:ἐπέχοι
676:endash
547:iambus
482:Virgil
280:Epodes
272:Epodes
266:Epodes
253:Scipio
213:Pindar
127:ἴαμβος
113:Epodes
108:Horace
77:poets
55:iambic
43:Iambus
1483:, 182
1470:, 157
1418:, 437
1405:, 157
1262:, 192
1206:, 190
1124:, 7–8
1072:, 138
1059:, 2–3
1046:, 190
1033:, 8–9
930:and
870:, 438
842:Paros
828:Notes
817:Epode
709:Epode
672:Homer
602:.....
333:Epode
321:Epode
298:iambi
276:Epode
185:Paros
160:Latin
93:poet
71:elegy
1595:link
1554:link
1366:, 42
1301:, 99
1275:, 32
1219:, 35
1193:, 41
1180:, 43
1167:, 93
1111:, 63
1020:, 41
637:....
531:Ἀραί
85:and
61:and
1314:, 9
1236:, 1
1150:, 2
1098:, 4
1085:, 3
758:or
484:in
158:or
110:'s
45:or
1749::
1591:}}
1587:{{
1550:}}
1546:{{
578:,
335:10
328:.
247::
233:,
154:,
136:,
106:.
81:,
1597:)
1556:)
762:.
304:?
270:(
20:)
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