latter is a free translation of Sappho 31. Horace wrote several of his Odes in Sapphics, and two tendencies of Catullus became normative practice with Horace: the occurrence of a caesura after the fifth syllable; and the fourth syllable (formerly anceps) becoming habitually long. Horace's Odes became the chief models for subsequent Sapphics, whether in Latin or the later vernaculars — hence the term "Horatian Sapphic" for this modified model. But due to linguistic change, Horace's imitators split on whether they imitated his quantitative structure (the long and short syllables, Horace's metrical foundation), or his accentual patterns (the stressed or unstressed syllables which were somewhat ordered, but not determinative of Horace's actual formal structure). Gasparov provides this double scansion of Ode 1.22 (lines 1-4), which also displays Horace's typical long forth syllables and caesura after the fifth: / × × / × × × / × / × – u – – – u u – u – ∩ × / × / × / × × × / × – u – – – u u – u – – × × × / × / × × × / × – u – – – u u – u – – / × × / × – u u – – ... /=stressed syllable; ×=unstressed syllable; ∩=brevis in longo Other ancient poets who used the Sapphic stanza are Statius (in Silvae 4.7), Prudentius, Ausonius, Paulinus of Nola and Venantius Fortunatus (once in Carmina 10.7). Usually, the lesser Sapphic line is found only within the Sapphic stanza; however, both Seneca the Younger (in his Hercules Oetaeus) and Boethius used the line in extended passages (thus resembling the stichic quality of blank verse more than a stanzaic lyric). Medieval The Sapphic stanza was one of the few classical quantitative meters to survive into the Middle Ages, when accentual rather than quantitative prosody became the norm. Many Latin hymns were written in Sapphic stanzas, including the famous hymn for John the Baptist which gave the original names of the sol-fa scale: Accentual Sapphic stanzas that ignore Classical Latin vowel quantities are also attested, as in the 11th-century Carmen Campidoctoris, which stresses the 1st, 4th and 10th syllables of the lines while keeping the Horatian caesura after the fifth (here with a formal equivalent paraphrase): English Though some English poets attempted quantitative effects in their verse, quantity is not phonemic in English.