Line 1. referent. . novi, a double statement. Fresh waves are rising, and they will carry thee back. Horace speaks of the civil war under the same metaphor in Od. 2. 7. 15 Te rursus in bellum resorbens Unda fretis tulit aestuosis,' and in Epp. 2. 2. 47 Civilis. . belli . . aestus'; although in those cases it is individuals, not the State, who are battling with the waves.

2. fortiter occupa portum, make a brave effort and gain the harbour first,' i.e. before the fresh waves prevent you. The ship is still outside the bar.

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4. nudum, supply' sit,' as also after 'saucius.' Orelli speaks of this as miro zeugmate ex v. gemant' v. "sit" elicere,' and thinks it far more poetical to make 'gemant' the verb to all three clauses. But it is a harsher zeugma to speak of a broadside swept bare of rowers as 'groaning' in the same sense as yardarms. And if 'gemant' apply to all three subjects, the antennae' are left without any special description of the injury done to them. Bentley, accepting the reading of some of the less ancient MSS., 'gemunt,' 'possunt,' puts the question at 'latus,' making the second stanza consist of categorical statements. For 'vides ut.. gemant,' the particular sense of seeing' being lost after a time in the more general notion of 'perceiving,' cp. Od. 3. 10. 5-8 'Audis quo strepitu ianua. . remugiat Ventis, et positas ut glaciet nives Iuppiter,' and Virg. Aen. 4. 490 'mugire videbis Sub pedibus terram et descendere montibus ornos.'

6. sine funibus. They are the volwμara of Plat. Resp. p. 616 C; cp. Acts 27. 17 βοηθείαις ἐχρῶντο ὑποζωννύντες τὸ πλοῖον, ropes passed round the hull to prevent the timbers starting.

7. durare, Virg. Aen. 8. 577' durare laborem.'

carinae, apparently a plural for a sing., the keel and all that belongs to it, the timbers that start from it, the hull, the bottom. Bentley takes it as a proper plural, 'Other ships about you cannot hold without anchors.' 8. imperiosius, 'too tyrannous,' 'peremptory.' The sea insists on breaking in, will have no refusal.

10. non di, sc. sunt integri.' The images of gods which were carried on board as a protection to the ship; Pers. 6. 30 Iacet ipse in litore, et una Ingentes de puppe dei.'

11. Pontica, cp. Catullus, 'Dedicatio Phaseli,' 4. 13 'Amastri Pontica, et Cytore buxifer,' &c.

12. nobilis, with 'silvae,' a forest of name,' cp. 3. 13. 13 'fies nobilium tu quoque fontium.'

14. pictis puppibus, Virg. Aen. 5. 663. Ships in Homer are juλTоmáрno. Seneca, perhaps thinking of this place, Ep. 76' navis bona dicitur non quae pretiosis coloribus picta est, . . sed stabilis et firma et iuncturis aquam excludentibus spissa.'

timidus, in the time of his fear.'

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15, 16. nisi debes. . cave, unless thou art doomed to make sport for the winds, take good heed,' i.e. if it is any use to warn you, be warned. 'Cave,' absolutely, as in Epod. 6. 11 'cave, cave.' 'Debere' is 'to be bound to give'; it may be, because we have received an equivalent; it may be, as here, by some irreversible law outside of us, as we talk of death as the 'debt' of nature. 'Debemur morti nos nostraque,' A. P. 62. It is not necessary to imagine with Orelli a hesitation between the two constructions, nisi mavis perire, cave' and cave ne pereas,' or with Dill., an ảnò кowoû government of 'ludibrium' by 'debes' and 'cave.' You could not say cavere ludibrium' in the same sense of 'ludibrium' in which you would say 'debere ludibrium ventis.' The position of 'cave' gives it the necessary emphasis.

17, 18. Here Horace seems to be thinking of the Commonwealth as much as of the ship. The contrast is between the two moments, a few hours ago when the ship was struggling for existence in the storm, and now when it is at the haven's mouth, but still not quite safe. His feeling towards it then was a hopeless heart-sickening,' now it is 'a fond yearning and anxious care.'

18. desiderium does not necessarily imply regret for what is lost or impossible to get; see, for instance, Od. 3. 1. 25 ‘desiderantem quod satis est.'

19. nitentes, fulgentes Cycladas,' Od. 3. 28. 14, of their marble rocks. Perhaps there is a notion of 'tempting to the eye but destructive.'

ODE XV.

Nereus becalms Paris, as he flies with Helen, to foretell to him his own fate and the destruction of Troy.

'Hac ode Bacchylidem imitatur; nam ut ille Cassandram facit vaticinari futura belli Troiani ita hic Proteum,' Porph. (The last word is a slip arising from a reminiscence of the prophecies of Proteus in Hom. Od. 4.) The same statement is repeated by a Scholiast on Stat. Theb. 7. 320. If, however, the fine verses which Clement of Alexandria quotes, without giving the name of their author (Strom. 5. 731 & Avpikós pnoi), belonged, as is commonly believed, to this poem, Horace's imitation cannot have extended beyond the mere framework.

The lines of Bacchylides are:

ὦ Τρῶες ̓Αρηϊφιλοι, Ζεὺς ὑψιμέδων ὃς ἅπαντα δέρκεται

οὐκ αἴτιος θνατοῖς μεγάλων ἀχέων· ἀλλ ̓ ἐν μέσῳ κεῖται κιχεῖν

πᾶσιν ἀνθρώποισι Δίκαν ὁσίαν, ἁγνάν,

Εὐνομίας ἀκόλουθον καὶ πινυτᾶς Θέμιδος·
ὀλβίων παῖδές νιν εὑρόντες σύνοικον.

(Fr. 29 Bergk.)

The imagery of Horace's Ode is really Homer's rather than that of the Greek lyrists, cp. Od. 1. 6.

A Scholiast calls the Ode an allegory of Antony and Cleopatra, and that explanation of it is adopted by several editors, Landinus, Baxter, and Sanadon. Ritter draws the parallel out in detail. Paris, hidden by Venus in Helen's chamber, is Antony taking refuge in Cleopatra's ship at Actium, &c. The whole theory is very improbable. Mitsch. remarks that the first suggestion of it is probably due to the position of the Ode. The key which had unlocked the last was applied to this. Compare the relation of the next two Odes to one another. The Ode is imitated by Statius Achill. 1. 20 foll.

Metre-Fourth Asclepiad.

Line 1. pastor, Virg. Aen. 7. 363 ' Phrygius pastor.'

2. Helenen. The older MSS. are divided between '-am' and '-en,' the majority of later ones are for the Greek form, see on Od. 1. 1. 34. perfidus hospitam, 'his hostess,' cp. Od. 3. 3. 26 ' famosus hospes.' The great sting of Paris offence was that he ᾔσχυνε ξενίαν τράπεζαν Kλопаîσι Yvναιkós, Aesch. Ag. 401. For the relation of the two adjectives, cp. 3. 7. 13 'perfida credulum.'

3. ingrato celeres, the winds were doing their best to speed him, Nereus crossed their will with this calm.

5. Dill. remarks on the weight given to the words 'Nereus fata' by their reservation to this place, the name of the speaker, and the nature of his words. They bespeak attention for the prophecy which follows.

Od.

mala avi, Od. 3. 3. 61 alite lugubri'; Epod. 10. I 'mala alite'; 4. 6. 23 potiore alite,' like the Gr. opvis, oiwvós.

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7. rumpere, by a zeugma (Madv. § 478, obs. 4) with 'nuptias' and ' regnum.' The union of the two objects under the one verb helps the feeling that the same blow will affect both purposes.

9. Hom. Il. 2. 388 ἱδρώσει μέν του τελαμὼν . . ἱδρώσει δέ τευ ἵππος. 10. quanta funera, 'what a scene of death!' Virg. Aen. 8. 537 'Heu

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quantae miseris caedes Laurentibus instant.' See Forc. for this use of 'quanti' with a plural, where we should expect quot.' The strongest instance quoted from an Augustan writer is Prop. 1. 5. 10 'Ac tibi curarum milia quanta dabit.' It is poetical, and seems to include the notion of magnitude as well as of number, 'What a mighty host of cares'! moves, used, without any definite metaphor, of 'setting in motion,' 'beginning,'' causing.'

Dardanae, Od. 4. 6. 7. The poets, and especially Horace, use the names of nations and tribes as adjectives instead of the fuller derivative forms in -ius or -icus. Marsus aper,' Od. 1. 1. 28; 'Medum flumen,' 2. 9. 21; 'Afro murice,' 2. 16. 35; ‘Thyna merce,' 3. 7. 3. They extend the liberty even to the proper names of individuals, as here; cp. C. S. 47, Od. 4. 5. 1'Romulae genti'; Virg. Aen. 6. 877 'Romula tellus.'

12. currusque et rabiem, her rage is one of its own weapons, as Aeneas in Virg. Aen. 12. 107 acuit mentem et se suscitat ira'; and Hecuba, in Ov. Met. 13. 554 'se armat et instruit ira.' For the union of abstract and concrete, Orelli quotes Hom. Il. 3. 447 oùv déßaλov ῥινούς, σὺν δ' ἔγχεα, καὶ μένε' ἀνδρῶν, and Hor. Od. I. 35. 33 ' cicatricum et sceleris.'

13. foll. Hom. Il. 3. 54 οὐκ ἄν τοι χραίσμῃ κίθαρις τά τε δῶρ ̓ Αφροδίτης | ἥ τε κόμη, τό τε εἶδος, ὅτ' ἐν κονίῃσι μιγείης.

15. divides. The meaning is doubtful. Orelli understands by it 'halve the song with the guitar,' i. e. between the voice and the guitar, make the guitar take half the song.' Or it may conceivably mean 'mark the time of songs,' 'accompany them.' Cp. Luc. 2. 688 'buccina dividat horas,' 'tell the hours,' i. e. 'mark their divisions.' Dill". gives it a simpler sense, comparing Od. 1. 36. 6 'sodalibus. . dividit oscula,''sing to one and another'; 'feminis' will then depend, àñò KOLOû, on 'grata' and 'divides.'

16. thalamo, of Venus carrying him from the fight to Helen's chamber, Il. 3. 381.

graves, compare Homer's spear, Вpiðú, μéya, σTIẞapóv; and there is an Horatian contrast between the weighty spear and the light arrow of reed.

17. Gnosii, Cretan, Virg. Aen. 5. 306 Gnosia spicula'; E. 10. 59 'Cydonia.'

18. celerem sequi, 'Oïλños Taxùs Aïas, Hom. Il. 2. 527, &c. 20. crines. The MSS. are divided between this and cultus,' 'ornaments.' Acr. read 'crines,' as he illustrates it by Virg. Aen. 12. 99 'foedare in pulvere crines.' And the reference seems to be to the line of Hom. quoted on v. 13. With 'adulteros crines,' cp. 'impia cervice,' 3. 1. 17; timido tergo,' 3. 2. 16; 'libero tergo,' 3. 5. 22;

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'iratos regum apices,' 3. 21. 20; and in Gr. è§ èλevlépov dépns, Aesch. Ag. 328.

24. With some hesitation I have followed Orelli in reading 'Teucer et'; Ritter, Dillenburger, and Keller, give 'Teucer te.' The MSS. are fairly divided between these two readings and Teucerque et,' which Bentley preferred. The Scholiasts do not help us; and though Cruquius says that 3 Bland. read 'Teucer te,' he does not distinctly cite the oldest. The considerations in favour of 'et' are: (1) that there was an obvious metrical reason for altering it; (2) that this reason, with the reading itself, explains the double variation 'te,' 'que et.' What could be the motive for altering either of these to the other? (3) the number of urgent.' 'Teucerque' is awkward, as the position of 'que' would seem to make Salaminius' an epithet of Sthenelus as well as Teucer.

sciens pugnae, Homer's μáxns ev eidús, ' citharae sciens,' Od. 3. 9. 10. Orelli points out that the form 'sciens.. sive opus est,' &c., is very likely from Hom. Od. 9. 49 ἐπιστάμενοι μὲν ἀφ ̓ ἵππων ̓Ανδράσι μάρνασθαι καὶ ὅτε χρὴ πεζὸν ἐόντα.

28. melior patre, from Hom. Il. 4. 405, where Sthenelus says, ħμeîs τοι πατέρων μέγ ̓ ἀμείνονες εὐχόμεθ ̓ εἶναι.

31. sublimi, a translation (as often in Horace) of μeréwpos, which was used (see Liddell and Scott s. v.) of difficult respiration, either because the breath seems caught, stopped midway, or because the head is held in air in the attempt to relieve it. Meineke (on Menander 'AX. 3) compares the expression which occurs there and elsewhere rò пveûμ' ἔχειν άνω, explaining that by the medical term ὀρθόπνοια, breathing which requires an upright position.

33. iracunda classis, the anger which kept Achilles' ships apart from the rest.

diem proferet, 'shall postpone the day of doom.'

34. Achillei, see on Ulyxei, Od. 1. 6. 7.

36. For the trochee, as the 'basis' of the verse here and in v. 24, see Index of Metres, § 1.