requiring, any adventitious adornment. The simplicity of Pyrrha seems intended to contrast with the lover's elaborate preparations; the liquidi odores,' 'multa rosa,'' gratum antrum.'

5. fidem, sc. mutatam.' Comp. Od. 3. 5. 7 Pro curia, inversique mores.' It is an extension of the usage noticed on Od. 1. 2. I.

6. mutatos deos, the gods as the givers of happiness or pain; but ' from the close connection with 'fidem' there is probably also the feeling that they are the gods who listened to her vows and seemed to guarantee her truth ; ὅρκων δὲ φρούδη πίστις, οὐδ ̓ ἔχω μαθεῖν εἰ θεοὺς νοπίζεις τοὺς τότ' οὐκ ἄρχειν ἔτι, Eur. Med. 492.

7. nigris, Epod. 10. 5 'niger Eurus'; Virg. G. 2. 278 'nigerrimus Auster'; so the opposite 'albus Notus,' 'albus Iäpyx.'

8. emirabitur, änag λeyóμevov in class. Latin.

10. vacuam, 'free,' not preoccupied by any other passion, Od. 1.6. 19. 11. aurae, 'ignorant how soon the wind may shift.' It is a common metaphor for anything that is fickle and changeable, 'popularis aurae,' Od. 3. 2. 20.

13. intemptata nites continues the metaphor. She (or her love) is a shining untried sea, placidi pellacia ponti.'

13-16. Cp. Virg. Aen. 12. 766 Servati ex undis ubi figere dona solebant. . et votas suspendere vestes.'

15. potenti maris, on Od. 1. 3. 1 'Diva potens Cypri.'

16. deo, Neptune.

ODE VI.

'Heroic exploits require a Homer to sing of them,' says Horace, and so gives Agrippa the lyric glory that (it would seem) he has asked for, while professing to leave the task of celebrating such exploits to the epic genius of Varius. For panegyric cast in the same form compare Od. 2. 12 and 4. 2.

The Ode is addressed to M. Vipsanius Agrippa, the friend and counsellor of Augustus, and the greatest commander of his reign. He finally defeated Sextus Pompeius at Naulochus in B. C. 36, and commanded at Actium in B. C. 31. After the death of Marcellus (and consequently, it would seem, after the publication of this Ode) he was married by Augustus to his daughter Julia (B. C. 21); was associated with him (B. C. 18) in the Tribunician power, and was looked upon as his intended successor. He died four years before Horace, in B. C. 12. Horace speaks of his popularity in Sat. 2. 3. 185; of his subjugation of

the Cantabri in Epp. 1. 12. 26; of his engineering exploit of turning the Lucrine lake into a harbour, though without mentioning his name, in A. P. 63.

Metre Fourth Asclepiad.

Line 1. scriberis. Not necessarily a definite promise or prophecy,although Varius is said really to have written a 'Panegyricus in Caesarem Octavianum' (see Epp. 1. 16. 27, where Horace is said by the Schol. to have borrowed 2 lines from that poem) which would have contained the exploits of Agrippa,—but=‘scribaris licet,' 'I shall leave Varius to write of you.' Cp. Od. 1. 7. 1 ‘laudabunt alii'; 1. 20. 10 'bibes'; 3. 28. 13 'tinget.' 'Scribere' is used of poetical description, cp. v. 14, Sat. 2. 1. 16.

Vario, L. Varius Rufus, the friend of Horace and Virgil, and one of the literary executors of the latter. Cp. Sat. 1. 5. 40, 1. 6. 55, 1. 9. 23, 1. 10. 44, 81, 2. 8. 21, 63, Epp. 2. 1. 247, A. P. 55.

2. Maeonii carminis, Od. 4. 9. 5, 'Homeric'; cp. Sat. 1. 10. 44 'Forte epos acer Ut nemo Varius ducit.'

alite. This is the unanimous reading of the MSS.; and the PseudoAcr. and the Comm. Cruq. found it, for the difficulty of the ablative made them separate it from Vario' and explain it by 'Homericis auspiciis.' Ritter takes 'Vario' as a dative, and 'alite' as a loose 'ad sensum' apposition to it. It seems better with Orelli to take Vario.. alite' as an abl. absol., a construction the use of which Horace is inclined to extend (see Od. 2. 1. 12, 16, 2. 7. 15, 3. 5. 5). The position of the words is quite in his manner; the promise or permission standing first, and accompanied only by Varius' name as a sufficient guarantee to stay in initio any impatience; then, measured off against each other, the characteristics of the theme and of the poet who is fit to sing of it. 'It shall be told, but by Varius, thy bravery and thy victories, for he is a bird of Maeonian song.' For the grammatical difficulty of the separation of Vario' from 'alite' we may perhaps compare Sat. 1. 3. 70 'Cum mea compenset vitiis bona,' if 'cum' be there a preposition. For more certain but rather less analogous cases of odd sorting of words see Sat. 1.5.72, 2.1. 60, 2. 3. 211. The passages usually quoted on this place, such as (of Horace) Sat. 2. 1. 84 'Iudice laudatus Caesare'; Epp. 1. 1. 94 curatus inaequali tonsore,' are insufficient to substantiate the use of the ablative of the agent without a preposition. There is either a predicate present, as in iudice Caesare' (Dillenburger quotes it as 'laudatus Caesare,' which would be just the case we are in search of), which brings it within the scope of the abl. absol., or else the subst. is barely personal, and the abl. becomes rather instrumental or modal, as in Ov. Met. 7. 50 matrum celebrabere turba.' Ov. Her. 12. 161

'Deseror coniuge' may be explained perhaps as following such analogies as 'orbor,' 'viduor'.' The alteration aliti 'is easy, too much so to be probable. For 'ales' as the title of a poet, cp. Od. 4. 2. 25 'Dircaeum cycnum,' and the whole idea of Od. 2. 20.

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3. quam rem cunque, 'every exploit which thy brave soldiery achieved by sea or land, led on by thee'; the construction is as if the previous clause had run scribentur fortitudo et victoriae tuae.' The tmesis is common in Horace, cp. Od. 1. 7. 25, and even in prose, Cic. pro Sest. 31 'quod iudicium cunque subierat.'

5. neque

nec, 'we essay no more to tell this tale than to tell,' &c., cp. Od. 3. 5. 27.

6. stomachum. This rendering of the Homeric μῆνιν οὐλομένην is quoted by Charisius as an instance of intentional raneivwois, which he defines 'rei magnae humilis expositio,' as if it were an undignified word chosen to show Horace's distaste for such a character. In any case, in respect of this as well as of duplicis' and 'saevam,' though the traits themselves are traditional, their selection is probably intended to point a contrast with the milder themes which Horace prefers. 'I cannot write of the fierceness and the craft and the cruelty of heroic wars.' 7. duplicis, moλúтρопоs, Hom.; dɩnλoûs ávýp, Eur. Rhes. 193.

Ulixei, for the form, cp. Achillei, 1. 15. 34, and see Madv. § 38, obs. 3.

8. Pelopis domum, the theme rather of the Greek drama than of Epos; but Horace is probably alluding to Varius' tragedy 'Thyestes,' which was brought out in the year after the battle of Actium. It was greatly admired. 'Varii Thyestes cuilibet Graecorum comparari potest,' Quint. 10. 1. 98.

10. lyrae potens, Od. 1. 3. I.

vetat, see on Od. 1. 3. 10.

11. egregii, Od. 3. 25. 4, 'peerless.'

12. deterere, lit. 'to wear the fine edge off'; cp. 'obterere,' Cic. Verr. 2. 5. obteri laudem imperatoriam criminibus avaritiae,' and 'tenuare,' Hor. Od. 3. 3. 72.

13. tunica tectum adamantina, xaλkoxíтwva: 'adamas' is hard steel.

14. pulvere nigrum. Cp. 2. 1. 22. The 'dust' of the Trojan plain occupies a prominent place in Homer.

16. superis parem, referring to his wounding Aphrodite and Ares, in Hom. Il. 5; see esp. vv. 881-884 H (sc. Pallas) vvv Tudéos vľov

1 This was written before the publication of the 2nd ed. of Prof. Mayor's Juvenal. The note which he inserts by Mr. H. A. J. Munro, on Sat. 1. 13, argues my main point more effectively than I can.

ὑπερφίαλον Διομήδεα μαργαίνειν ἀνέηκεν ἐπ ̓ ἀθανάτοισι θεοῖσιν. | Κύπριδα μὲν πρῶτον σχεδὸν οὔτασε χεῖρ ̓ ἐπὶ καρπῷ, | αὗταρ ἔπειτ ̓ αὐτῷ μοι ἐπέσσυτο δαίμονι ἶσος.

17. nos, not quite='ego,' but generalizing, 'I and such as I.'

18. sectis, pared,' so as not to hurt, Orell.; cp. 'irresectum,' Epod. 5. 47, of clawlike nails; 'cut to a point,' Ritter. Who shall decide? The first makes the better contrast with 'acrium,' and so with the real battles of which these are the harmless parody. Bentley proposed 'strictis' as helping the point of 'proelia' by the waрà проσdоkiaν substitution of 'unguibus' for 'ensibus,' and as supported by Ovid's 'Non timeo strictas in mea fata manus,' Am. 1. 6. 14.

19. vacui, see on Od. 1. 5. 10. For the omission of the first 'sive,' see on Od. 1. 3. 16.

20. leves, light-hearted much after my wont,' i. e. whether in love or not, habitually given to light and fanciful themes; 'iocosae Musae dediti': cp. Od. 3. 3. 69 'iocosae lyrae.'

ODE VII.

'The world is full of fair spots, but your own Tibur is the fairest. Forget your troubles, Plancus; in camp, or here in Tibur, drown care in wine. Remember how Teucer put a bold face on his calamity, and found a new Salamis to make up for the old.

What Plancus' trouble was we do not know, nor whether it bore any resemblance to Teucer's by involving a compulsory absence from his well-loved Tibur.

L. Munatius Plancus was a man of no character, ' morbo proditor,' Vell. Pat. 2. 83. He had been a friend of Julius Caesar; after his death he changed sides more than once between Antony and Octavius. By the latter he was made consul in B.C. 42.

With the story of Teucer at the end of the Ode compare the conclusion of Epod. 13. 11 ad fin.

Several of the best MSS. begin a new Ode at v. 15. The division was as old as Porph., for he notices and condemns it; on v. 15 ' Hanc Oden quidam putant aliam esse, sed eadem est ; nam et hic ad Plancum loquitur cuius in honorem et in superiore parte Tibur laud a Plancus enim inde fuit oriundus.' There seems too little substance in the first fourteen lines for a separate Ode, and the recurrence to Tibur in v. 20 is clearly the link, though a slight one. common in the MSS. See Epod. 2. 23

Mistakes in the matter are and 9. 27. Porph. mentions

and condemns a division of Od. 3. 24 at v. 25, though it is not so found in any extant MS. The opposite mistake occurs in Od. 2. 14, 15, which are written continuously in several of the oldest MSS., although there is no conceivable connection between them.

Metre-Alcmanium.

Line 1. laudabunt alii, 'I shall leave it to others to praise'; see on v. I of the last Ode.

claram, ' sunny,'' quia soli sit opposita,' Porph. ; and so Lucan took it, 8. 248 claramque reliquit Sole Rhodon': or 'glorious'; Catull. 4. 8 'nobilem Rhodum.'

5. sunt quibus, see on Od. 1. 1. 3.

6. perpetuo, a continuous poem not merely touching incidentally on Athens, Ov. Met. 1. 4 'prima ab origine mundi In mea perpetuum deducite tempora carmen.'

7. To wreathe their brow with the olive plucked on every hand,' i.e. to seek fame by writing on a well-worn theme. This is Bentley's interpretation. The expression contains a reminiscence of Lucret. 1. 926 iuvat.. novos decerpere flores, Insignemque meo capiti petere inde coronam Unde prius nulli velarint tempora Musae,' a passage which Horace imitates again in Od. 1. 26. 6, 7. The 'olive' leaf is specially named as the appropriate crown for one who wrote of Athens: Bentley quotes Sen. Herc. F. 913 'Populea nostras arbor exornet comas, Te ramus oleae fronde gentili tegat, Theseu.'

undique, almost = 'by every one,' and so parallel to the use of 'unde''a quo,' of the agent, Sat. 1. 6. 12, &c. All other interpretations are more forced. Orelli takes it 'to pluck the olive for a crown from every quarter of Attic soil,' i.e. to sing of every myth, event, glory of art, that adorn Athens.

8. plurimus. There seems to be no other instance of 'plurimus' without a subst. for 'plurimi.' Ritter will not allow the use, and takes plurimus in Iunonis honorem' as='effusus in,' as 'multus esse in re nota,' Cic. de Or. 2. 87. But if Virgil says 'plurimus oleaster,' G. 2. 182, and Lucan, 3. 707, 'multus sua vulnera puppi Affixit moriens,' 'plurimus' may well be used for the plural here.

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in honorem, for the accus. cp. Epod. 1. 24 militabitur in tuae spem gratiae.'

9. aptum equis. So Epp. 1. 7. 41: innóßoтоν, inпотрó‡оv, Hom. ; rarum pecorique et vitibus almis Aptius uber erit,' Virg. G. 2. 234. dites Mycenas, πολυχρύσους, 11. 8. 180.

10. patiens, of the Spartan discipline.

11. percussit, as we say, 'has so smitten me,' has made such an impression on me.