APPENDIX I.

ON THE UNKNOWN NAMES IN THE ODES.

A DISCUSSION of the unknown names in Horace's Odes has no such scope or purpose as it would have had in the last century. No one would now dream of renewing the attempts, the futility of which Buttmann and Estré exposed, to construct out of the Pyrrhas, Lalages, and Lydias a history of the poet's loves and disappointments. Such attempts involved misconceptions both of the nature of his lyrical genius and of the chronological relation of the Odes to his life. They are not, like the lyrics of Catullus, the outpouring of the stress and passion of youth, but the conscious and elaborate work of one 'cuius octavum trepidavit aetas claudere lustrum.' Even with a lyrical poet of this type it may be true that each poem had an occasion, that it may touch real life at some point, but the occasion is often the slightest. The poet versifies not his own experience only, but that of others; a remark at a supper-party, an incident related to him, a casual image in conversation, are enough to set his fancy working, and the result is a dramatic sketch of the situation or feeling suggested. In any case the Odes are treated by their author as artistic studies-he arranges them not in any order of time, but where they will be most useful to relieve more serious poems or to stand as companion pictures.

In spite of this it may be worth while to point out some obvious facts about the names that figure in the Odes. It will illustrate a feature in Horace's art, and may throw some light by analogy on the employment of names in his other poems. Of the practice recognized in Latin poetry of concealing the names of real persons under Greek names of equivalent metrical value (as Virgil's Lycoris for Cytheris, Catullus' Lesbia for Clodia, &c.) there is little trace to be discovered in the Odes. The Scholiasts, usually so quick-sighted for such points, are silent except in the case of Licymnia in Ód. 2. 12,

which does not concern Horace himself. On the other hand, many of the names are manifestly adapted by their etymological meaning to the ideal personages depicted, as Pyrrha in 1. 5, Chloë in 1. 23, Lyce in 3. 10, Phidyle in 3. 23: cp. Sybaris in 1. 8; the list may possibly be extended by the names of Lalage in 1. 22, Leuconoe in I. II, and of Telephus 1. 13, &c. (Horace is fond of playing on the meaning of names, 'Glycerae immitis,' 1. 33. 2, 'Bibuli consulis amphoram,' 3. 28, 8.) Some more are adapted to the metre of the special poem; as Leuconoe in 1. 11, 'Asterie ' in 3. 7, and 'Neobule' (cp. the name of her lover, 'Liparaeus Hebrus') in the Ionic a minore metre of 3. 12. With one or two exceptions the unknown male names in the Odes (the names of Horace's rivals, as in 1. 13, on any theory of a real Lydia) are Greek names, Telephus, Gyges, Calais; mythological names; sometimes the names of Greek rivers, Hebrus 3. 12, Enipeus 3. 7. We may add perhaps that where the designation is most full and precise we seem to see most definitely the purpose of giving momentary substance to an acknowledged shadow; see on 'Thurini Calais filius Ornyti' 3. 9. 14, and cp. Introd. to 2. 4. In a few cases we seem to see the appropriation of the name to a special character, as 'Cyrus,' 1. 17. 25, 1. 33. 6; 'Pholoe,' 1. 33. 7, 9, 2. 5. 17, 3. 15. 7; Telephus,' 1. 13. 1, 3. 19. 26, 4. 11. 21. On the other hand, the same name is at times given to people of such different characters or ages, that those who gave them real existence were obliged to recognize more than one owner of the name; cp. the Phyllis of 2. 4 and 4. 11, the Chloris of 2. 5 and 3. 15, the Lalage of 1. 22 and 2. 5. There are cases where a reality seems to be given to unknown names by their being brought into close relation with real persons and events, such as Mystes,' the lost friend of Valgius, in 2. 9; Glycera,' to whom Tibullus is supposed to write piteous elegies, 1. 33. In this last case, however, we note that Glycera is not a name that occurs in Tibullus' extant elegies. How much truth of fact underlies the very few love-Odes in which Horace's own personality is introduced otherwise than by the mere use of the first person, such as 1. 33, 'Ipsum me, melior cum peteret Venus, Grata detinuit compede Myrtale',' or 4. II in which, after inviting Phyllis to help him keep Maecenas' birthday, he addresses her as meorum finis amorum,' it is more difficult to say.

6

There is one name, that of Cinara (Od. 4. 1. 4, 4. 13. 21, 22, Epp. 1. 7. 28, 1. 14. 33), which seems redeemed from a mere shadowy

1 See Dr. Verrall's chapter entitled Myrtale' in his 'Studies.'

existence, both by the personal feelings that seem to accompany its mention and by its recurrence among the reminiscences of the poet's own life in the Epistles. That a mere literary reminiscence, an echo of his amatory poems rather than of his feelings, is intended seems unlikely in the absence of the name from all his early poems.

What has been said will obviously not apply with equal force to the Epodes, where, in idea at least, personality is the essence of the poem. The introduction of Horace's own name, as in Epod. 15, and the pursuance of his attack upon Canidia through three Epodes and three Satires seem to indicate real and definite objects. But the use of poetical names for characters who have no existence save at the moment begins doubtless in the Epodes, as do other features of the Odes.

APPENDIX II.

HORACE'S USE OF THE COMPLEMENTARY INFINITIVE WITH VERBS AND ADJECTIVES.

1. With Verbs.

A COMPLEMENTARY, or, as Dr. Kennedy prefers to call it, 'prolative,' infinitive seems properly to have been allowed only to verbs whose idea was not complete without such a definition of their scope; whether the simple verbs that express power, duty, inclination, purpose, effort, beginning, &c., and the negation of any of these ('possum,' 'debeo,' 'volo,' 'conor,' 'incipio,' 'nequeo,' 'nolo'); or again the simple verbs which express the allowing another, or influencing him, to do or abstain from doing something ('sino,' 'patior,' 'iubeo,' 'doceo,' 'cogo,'' veto,' 'prohibeo,' &c.). There is a tendency, however, even in the most classical prose writers to extend the first at least of these two classes by including verbs which do not properly require any such complement, and which therefore, if any further definition of their scope or purpose were needed, would in strictness have found it rather by means either of some subordinate clause or of one of those substantival forms of the verb which could indicate its special relation more exactly than is possible with the caseless infinitive. Thus we find with the infinitive, studeo,' Cic.; 'nitor,' Nep. ; 'quaero,' Cic.; 'tendo,' Liv.; 'pergo,' Cic.; 'persevero,' Cic. Many verbs hesitate between the two constructions, 'statuo facere' or 'ut

faciam,' prohibeo facere' or 'quominus facias.' The poets go beyond the prose writers in this extension, greatly because their diction substitutes more highly-coloured and metaphorical verbs for the simpler ones of prose, 'gaudeo,' 'gestio,' ' amo,' 'ardeo,' for 'volo,' &c.; but Livy and Sallust anticipate some of the boldest poetical applications of this liberty.

It seems useless to seek a full explanation of each case in the doctrine that the infinitive was truly a substantive, which involves the further difficulty that we must explain in what relation (or 'case') it stands to the leading verb (see Conington's note on Virg. G. 1. 213). A Roman poet felt at once the influence of Greek usage, in which the infinitive never lost its substantival character, and of Latin prece