scilicet haec populo pexusque togaque recenti hic neque more probo videas nec voce serena populo, a public recitation.' Ventosae plebis suffragia' Hor. I Ep. 19. 37 laetam cum fecit Statius urbem... tantaque libidine vulgi Auditur' Juv. 7. 83. 5. Horace elsewhere has 'populi suffragia (2 Ep. 2. 103). 15. pexus. 'Ille pexus pinguisque doctor' Quint. I. 5. 14, or perhaps='pexis vestibus.' Hor. 1 Ep. I. 95 'pexae tunicae.' [Sen. Ep. 115. 2 connects overcare in dress with an effeminate style in writing.] 16. The Schol. doubts whether the ring is called natalicia as a birthday present, or as worn on birthdays. Casaubon, who remarks, utro modo accipias pili non interest unius,' quotes Plaut. Curc. 5. 24. Quid didicisse. 15 20 sardonyche. 'Primus autem Romanorum sardonyche usus est Africanus prior. . et inde Romanis gemmae huius auctoritas' Plin. H. N. 37. 23 (6), § 85, quoted by Mayor on Juv. 7. 144. albus, obviously='albatus,' Hor. 1. c. The notion of paleness, though adopted by Heinr., is here quite out of place. 17. leges collueris is probably the true reading, though all MSS. but two, one of the 11th century, have 'legens,' and a considerable majority 'colluerit." Jahn remarks that the 2nd and 3rd persons are frequently interchanged in the MSS. of Persius. If legens' and 'colluerit' be adopted, a comma must be put after 'ocello.' sede celsa, ex cathedra,' like a lecturer. Heinr. refers to Wyttenbach on Plut. I, p. 375, for a similar description of the Greek rhetoricians. liquido.. plasmate, ' modulation.' Gr. TλάTTEL Pwvýv. Sit autem imprimis lectio virilis. ... non in canticum dissoluta, nec plasmate, ut nunc a plerisque fit, effeminata' Quint. 1. 8. 2, quoted by Jahn, who compares 'liquido with eliquat,' v. 35. Otherwise we expenditure of breath. Yes-you hope to read this out some day, got up sprucely with a new toga, all in white with your birthday ring on at last, perched up on a high seat, after gargling your supple throat by a liquid process of tuning, with a languishing roll of your wanton eye. At this you may see great brawny sons of Rome all in a quiver, losing all decency of gesture and command of voice, as the strains glide into their very bones, and the marrow within is tickled by the ripple of the measure. What! an old man like you to become caterer for other men's ears—ears to which you will be fain to cry Enough at last when bursting yourself?' F. What is the good of past study, unless this leaven-unless might have followed the ordinary interpretation of a gargle,' as such a custom was undoubtedly in use on these occasions. 18. collueris explained by liquido,' the modulation having, as it were, the effect of rinsing the throat. fractus dissolutus.' Here' fractus ocello' seems to be a translation οι κλαδαρόμματος. The Greeks also talked of κεκλασμένη φωνή. [Ρυθμὸς κεκλασμένος λόγῳ καὶ σεσοβημένος Longinus 41. I. Illum (animum) non esse sincerum et habere aliquid fracti' Sen. Ep. 115. 2.] Compare too θρύπτεσθαι. Fragilis' is similarly used of effeminacy, Hor. I S. 8. 39. The meaning of 'patranti' is doubted, but we shall probably be right in rendering it 'wanton.' 19. hic is probably 'hereupon,' as in v. 32, where see note, though König explains it illo loco ubi recitatur.' probus pudicus,' with which it was constantly coupled. Saltare elegantius quam necesse est probae' Sall. Cat. 25. serena = 'composita.' 20. ingentis.. Titos, like ' celsi Rhamnes' Hor. A. P. 342, only that 'ingentes' refers to the physical size of these sons of old Rome (like 'ingens Pulfennius' 5. 190, 'torosa iuventus' 3. 86, 'caloni alto' 5. 95), to show the monstrousness of the effeminacy to which they are surrendering themselves. trepidare like exsultat,' v. 82, they cannot keep their posture. Virgil's stare loco nescit.' 21. tremulo seems to express the movement of the line. 'Do you 22. vetule, note on v. 9. lend yourself to pampering the ears of others?' Casaubon compares the Greek phrases εὐωχίαι and εστιάσεις ἀκοῶν. 23. When, after all, you are sure to be tired before they are satisfied.' cute perditus='cute perdita,' like 'pede liber ''pede libero.' It is variously explained. The Schol. gives a choice emaciated by midnight study ''pale with old age'—and 'so diseased as to show it even externally.' The early commentators seem divided between the two first, several of them quoting Juvenal's 'deformem pro cute pellem.' Casaubon, followed by Jahn, understands it as dropsical, though he thinks it may denote cutaneous disease. König accepts neither view, but supposes the point intended to be inability to blush, however produced. Heinr. thinks it refers to the parched skin of high fever. May it mean, You will at least have to cry Hold when you burst?' (So v. 23 end.) [In support of the third explanation offered by the Schol. we may perhaps compare the language of Seneca, Ep. 122. 4, about people who feast all night and sleep all day: 'quippe suspectior illis quam morbo pallentibus color est: languidi evanidi albent, et in vivis caro morticina est.'] ohe. Hor. I S. 5. 12; 2. 5. 96, in which latter passage the first syllable is short. 24-27. F. What is the good of study, unless a man brings out what he has in him?' P.Hear the student! as if knowledge did no good to the possessor unless he were known to possess it!' 24. Quo is read by a few MSS. Most of the others have 'quid,' which seems to innata est rupto iecore exierit caprificus? 6 En pallor seniumque! O mores! usque adeone scire tuum nihil est, nisi te scire hoc sciat alter?' At pulchrum est digito monstrari et dicier hic est! ten' cirratorum centum dictata fuisse pro nihilo pendas ? Ecce inter pocula quaerunt Romulidae saturi, quid dia poemata narrent. make no sense. 'Quo tibi, Tilli, Sumere depositum clavum fierique tribuno?' Hor. 1 S. 6. 24. 25. iecore seems to mean little more than the breast (like 'fibra,' v. 47; 5.29). In 5. 129 it probably denotes the liver as the seat of passion, as in Hor. 1 Od. 13. 4. caprificus. Ad quae Discutienda valent sterilis mala robora fici' Juv. 10. 145. The harshness of the expression is probably Persius' own, not an attempt to ridicule the style he condemns. 26. pallor, of study, v. 124; 3. 85; 5. 62. senium. Hor. 1 Ep. 18. 47 'inhumanae senium depone Camenae.' Whether it refers here to actual old age or to moroseness may be doubted. Comp. note on v. 9. The latter is Horace's sense. Here is the true student character for you!' [Jahn (1868) gives ⚫ En pallor seniumque' to the friend.] 6 O mores! Cicero's famous exclamation (Cat. I. 1. 2; Verr. 4. 25. 56). usque adeone. Usque adeone mori miserum est?' Virg. Aen. 12. 644. Usque adeo nihil est' Juv. 3. 84. 27. The Schol. quotes from Lucilius, 'Ut me scire volo dicimus mihi conscius sum, Ne damnum faciam. Scire hoc se nescit, nisi alios id scire scierit ;' corrupt words, which have been differently emended; see Jahn, p. 254. ["Moechum scire volo." "Dicemus, consciu' sum mi at Ne damnum faciam, scire hoc sibi nesciat is me"' L. Müller, Lucilius, p. 141.] Suet. Ner. 20 says that Nero was fond of using a Greek 25 30 proverb (Τῆς λανθανούσης μουσικῆς οὐdels λóyos Gell. 13. 30. 3), 'occultae musicae nullum esse respectum,' as a reason for exhibiting his musical talents in public. [Δεῖ δὲ πᾶν οὕτω βλέπειν καὶ πράσσειν, ὥστε .... .τὸ ἐκ τῆς περὶ ἑκάστων ἐπιστήμης αὐθαδὲς σώζεσθαι λάνθανον, οὐχὶ κρυπτόμενον Μ. Aurelius 10. 9.] 28-43. F. But the reputation! You may be "canonized as a classic" by the aristocracy.' P. To be sure: they talk poetry after dinner; an exquisite gets up and drawls out a poem: the illustrious audience applauds, and there is posthumous fame for you.' F. Snarl as you will, there is something in writing a poem that the world will not let die.' 28. Quod monstror digito praetereuntium' Hor. 4 Od. 3. 22. Το δακτυλοδεικτεῖν. dicier an archaism, like 'fallier' 3. 50. hic est refers to the story of Demosthenes' elation at hearing a poor woman say Οὗτος ἐκεῖνος. Juv. I. 161 imitates Persius. 29. Hor. I Ep. 20. 17 gives the contemptuous side of the picture, 'Hoc quoque te manet ut pueros elementa docentem Occupet extremis in vicis balba senectus.' (Comp. Juv. 7. 226.) Persius takes not only higher schools but higher lessons, dictata being passages from the poets read out by the master (for want of books) and repeated by the boys. 'Sic iterat voces, et verba cadentia tollit, Ut puerum saevo credas dictata magistro Reddere' Hor. 1 Ep. 18. 12. In 1 S. 10. 74, Horace asks 'An tua demens Vilibus in ludis dictari the wild fig-tree which has once struck its root into the breast break through and come out? P. 'So much for pale looks and austerity! Alas for our national character! Is this knowing of yours so utterly of no account, unless some one else know that you are knowing?' F. But it is a fine thing for men to point one out and say, 'There he goes!' Do you mean to say that you don't care to become the dictation-lesson of one hundred curly-headed urchins? 'Listen. The sons of Rome are sitting after a full meal and enquiring in their cups, What news from the divine world of poesy? Hereupon a personage with a hyacinth-coloured mantle over his shoulders brings out some mawkish trash or other with a snuffle and a lisp, something about Phyllises or Hypsipyles, 29. cirratorum apparently denotes no more than 'puerorum.' Jahn cites Mart. 9. 30. 7 Matutini cirrata caterva magistri,' and mentions that in the representation of a school at Pompeii the boys wear their hair long. But the descriptive epithet naturally points to boys of the better classes. 30. Ecce introduces a narrative in the heroic style. inter pocula. 'Inter vina ’ 3. 100, inter scyphos' Cic. Fam. 7. 22, 'media inter pocula' Juv. 8. 217; 'in poculis' is used similarly Cic. Sen. 14: 'during drinking,' 'over the wine,' rather than in the intervals of drinking.' Persius probably mistakes Hor. 2 S. 2. 4 'Discite, non inter lances mensasque nitentes,' as the thing satirized is the wretched dilettante conception of literature as an accompaniment to a diningtable; and so in the next line, 'saturi' is strongly contrasted with Horace's 'impransi disquirite.' 31. Romulidae, like 'Titi,' v. 20. quid.. narrent, a phrase, 'What is the news?' Plaut. Pers. 4. 3. 29 'quid istaec tabellae narrant?' referring probably to the subject-matter of the poems'What are they about?' What have they to tell us?' Nebrissensis rightly explains quid dicant et contineant.' The 32. hic, 'hereupon,' 'extremely seldom,' says Freund, referring to Ter. And. 2. 3. 15, Virg. Aen. 1. 728; but in Virgil, at any rate, it is not unfrequent: see Aen. 2. 122, 533; 3. 369, etc. 'Hic aliquis' occurs again, 3. 77. The use of the laena' for the toga' was a mark of luxury. 'Coccina laena' Juv. 3. 283. Jahn. So of Aeneas, Virg. Aen. 4. 262 'Tyrio ardebat murice laena Demissa ex humeris.' Robes of the colour of the suave rubens hyacinthus' are mentioned by Athenaeus 12, p. 525 D. Jahn. 6 33. rancidulum. Rancide ficta verba' Gell. 18. 11. 2, like 'putidus,' 'mawkish.' The diminution, of course, heightens the contempt. balba de nare, lisping and snuffling.' The former at least implies an affectation of tenderness. 'Cum balba feris annoso verba palato' Hor. 2 S. 3. 274, which Persius had in view, as appears from v. 35. 34. Phyllidas, plural indicative of contempt. Χρυσηΐδων μείλιγμα τῶν ὑπ ̓ 'IXíq Aesch. Ag. 1439. Sentimental subjects from mythology, such as those celebrated by Ovid in his Heroides. vatum et plorabile si quid. Casaubon and Jahn compare Claud. Eutrop. 1. 261 verbisque sonat plorabile quiddam Ultra nequitiam fractis.' These accusatives are constructed with 'locutus,' not with 'eliquat.' eliquat ac tenero subplantat verba palato. adsensere viri: nunc non cinis ille poetae felix? non levior cippus nunc inprimit ossa? laudant convivae: nunc non e manibus illis, nunc non e tumulo fortunataque favilla nascentur violae?' Rides, ait, et nimis uncis naribus indulges. an erit qui velle recuset os populi meruisse et cedro digna locutus Quisquis es, o, modo quem ex adverso dicere feci, non ego cum scribo, si forte quid aptius exit, quando haec rara avis est, si quid tamen aptius exit, 36. Atsensere (duo fortasse verba). nunc nunc. poeta. 35 40 45 1 Ep. 13. 15; Juv. 7. 74; 9. 10, most of which Jahn compares; the inferior guests distinguished from 'viri,' the great men who sit with the giver of the feast. We must suppose a large entertainment, at which there is a recitation, not of the patron's verses, but of those of some deceased poet whom he admires. 'Laudant' may be meant to be stronger than 'adsensere,' as the humbler sort would be less measured in their approbation. manibus. Jahn compares Prop. 3. 4. 31 Deinde ubi suppositus cinerem me fecerit ardor, Accipiat manes parvula testa meos,' and the use of cineribus in inscriptions as synonymous with Dis manibus.' So also Virg. Aen. 4. 34 'Id cinerem aut manes credis curare sepultos ?' 39. fortunata favilla felix cinis.' This line is omitted by one MS. and Servius, who quotes the passage on Virg. Aen. 3. 63; but the repetition is rather forcible than otherwise. 40. König refers to a Greek inscription [fragm. adesp. 705, in Jacobs' Anthologia Graeca] ἄλλ ̓ ἴα καὶ σάμψυχα καὶ ὑδατίνη νάρκισσος, Οὐείβιε, καὶ περὶ σοῦ πάντα Yévoтo póda, The friend interrupts, telling Persius that this is mere buffoonery, which leaves the reason of the case untouched. |