fairly typical of Hellenistic poetry generally. The "serious struggle" is found in the Strasbourg fragment. Strasbourg papyrus Reitzenstein, the first editor of the fragment, attributed it to Archilochus but, in the following year (1900) Friedrich Blass assigned it to Hipponax. The papyrus includes, among its tattered portions, an incomplete name (, Hippona..), 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. 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 hemiepes (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 epodea motive for hate. The language is vigorous and direct, appropriate to the mood of the piece. Some of the diction is borrowed from the older work of Homer 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 endash, 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 Thracians, 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 caesura, marked by a comma, between key words justifying his