Astipulare meis, quia non sunt carmina, rhythmis ... Quod si, ut puto, nequit carmen jam jure vocari, Sit satis huic saltem censeri nomine rithmi. Quoted by Desilve, _De schola Elnonensi Sancti Amandi_, p. 57. [12] Keil, VII. 259. The passage in Diomedes is in Keil, I. 482. [13] Iamb for spondee in the third foot, as in line 8, is a liberty adopted from classical verse by Bede (_Adesto, Christe, vocibus_) and by Paulus Diaconus (_Fratres, alacri pectore_). Even Sedulius Scotus, as to whose metrical expertness there can be no doubt, uses this liberty in a classical poem (_Ventosa cum desæviat_, MGH, _Poet. lat. Car._ III. 162). Rendered rhythmically, their hymns often suggest the shift of stress that seems to be intended in the Irish hymns. [14] See above, page 119. [15] Nos dicamus Christo laudem genitoris unico, Mundi legitur librorum qui creator paginis, Cuius fine clemens venit liberare perditos.... Petrus Diaconus, MGH, _Poet. lat. Carol._ I. 48. Sensi, cuius verba cepi exarata paginis, Nam a magno sunt directa, quæ pusillus detulit; Fortes me lacerti pulsant, non imbellis pueri.... Paulus Diaconus, _ibid._ 49. The interesting application of the measure by Paulinus of Aquileia to extended narrative, though generally keeping the final dactyl, pays otherwise no more regard to quantity. Fuit domini dilectus languens a Bethania Lazarus beatus sacris olim cum sororibus, Quas Iesus æternus amor diligebat plurimum, Martha simul et Mariam felices per sæcula. _Ibid._ 133. These are all of the eighth century. Compare, in the ninth, Rabanus (Claras laudes ac salubres, posco, fratres dicite, _ibid._ II. 235; AH 50: 203), and Sedulius Scotus (Conditor supernus orbis imperator omnium, _ibid._ III. 159). [16] The hymn has nine stanzas; but the latter part, beginning _Angularis fundamentum_, is also sung separately. [17] Interesting use of rime both as occasional echo and as regular correspondence is heard in the hymn, from a tenth-century manuscript, _O redemptor, sume carmen_, AH 51: 80. [18] E.g., Sedulius Scotus. Blume suggests that the hymn above is by the author of _Ecce iam noctis_, page 121. Alcuin’s Sapphic _Christe salvator hominis ab ore_ (MGH, _Poet. lat. Carol._ I. 313; AH 50: 154) is less scrupulous in quantities than might be expected of him if he intended a _metrum_. It is entitled _Ymnus_.