listless spectator dispirits, an attentive | lated to please the eye, without at all inone puffs him up.' proving the mind of the spectator. 180. Subruit aut reficit-" overthrows or raises up again." Valeat res ludicra"farewell to the stage," ie., to the task of dramatic composition. Valeat is here in a bad sense, as χαιρέτω for ἐῤῥέτω. 181. Palma negata-The poet borrows the language of the games, as in reducit (domum)-Cp. Ode iv. 2, 17. Macrum, tristem; opimum, beatum-Comm. Cruq. 182 According to Horace, the dramatic poet must be a bold man, or he could not subject his productions to the criticism of an audience, not merely for the most part ignorant, but strongly p: epossessed in favour of the more degrading exhibitions of bear fights and boxers. 183. Numero, &c.-eques is a periphrasis for plebecula. 185. Eques-The Equites are here opposed to the Plebeians, as being a better educated class. Cp. Sat. i 10, 76. and Ars Poet., 113, and 248. &c. Media inter carinina -"in the middle of the play." 186. Aut ursum aut pugiles-Cp. Livy, xliv. 18; Cicero ad Fain vii. 1, 2; and Suetonius, Octav. 43. The wild beasts were baited by Molossian dogs, or fought by gladiators. The pugiles were different tom the gladiatores. See Notes, Sat. ii. 3, 30, and 6, 44. Augustus appears to have been very fond of witnessing the feats of the boxers (Suet. Oct. 45). Terence complains that his Hecyra had been twice interrupted by the performances of pugiles and rope dancers (funambuli). Such exhibitions were frequent before, and apparently after, the erection of amphitheatres, as the first amphitheatre of stone was erected in the Campus Martius, by Statilius Taurus, during the reign of Augustus, B.C. 29. 187. Verum, &c.-vana-This corruption of taste now spreads even to the more educated classes. 191. Regum fortuna -"the fortune of kings," i.e., unfortunate monarchs. Retortis-"bound behind their backs." 192. Esseda-The essedum or esseda was properly a Belgian or British war chariot, uncovered, closed behind, open in front, upon two wheels, and drawn by two horses, An imitation of it was a favourite vehicle at Rome. Pilenta-The pilentum was a state carriage of Tuscan or Spanish origin, and used by ladies on great occasions in stead of the carpentum. See cut at the end of the next Epistle. It is supposed to be represented by the following cut. Pelor. Naves rita-See Notes, Sat. 1. 6, 104. here denotes merely models of ships," or perhaps only their beaks, placed on vehicles to grace the triumphal pageant. 193. Captivum-ebur may either be richlywrought articles of ivory, or tusks of ele phants (dentes eburnei), as in Livy, xxxvii 59. Captiva Corinthusa captive Corinth." i.e., such a collection of costly articles, and works in Corinthian bronze, as was dis played by L. Mummius at his triumph, B C. 145, after the capture of Corinth. Cp. Oue i 7, 2. 194. Democritus laughs, as Heraclitus wept, at human affairs. See Notes, Epist. i. 12, 12. 195. Diversum, &c.-camelo-"a panther mixed with a camel, a distinct species," ie, the camelopard or giraffe, which is distinct from the common panther. Pliny (Hist Nat. viii. 18, 27,) says that the first giraffe seen at Rome, was exhibited at the Circensian games by Julius Cæsar, the dic 188. Incertos oculos-" eyes continually wandering from one object to another," i.e.. attracted by the variety and splendour of the objects exhibited, so as to be uncertain on which to rest. Cp. Sat. i. 3, 109, 189. Quatuor, &c.-horas "for four hours or more is the curtain kept down." In the ancient theatres, when the play began the curtain was drawn down under the stage. Cp. Ars Poet., 154. Hence tator. tollere aulaea, "to raise the curtain." Implies that the play was done; and premere aulaea, "to lower the curtain," that it was commenced. Horace, therefore, complains that a play is sometimes interrupted for four or five hours by the representation of a battle, succeeded by a triumphal procession, a spectacle calcu 196. Elephas albus-White elephants are still a great rarity, and their possession is eagerly sought after by some of the Eastern potentates. Converteret (in se). 197. Spectaret, &c.-plura-" he would gaze with more attention on the people than on the sports themselves, as affording him more strange sights than the actor." 200. Nam, &c. - theatra? - "for what strength of lungs is able to surmount the din with which our theatres resound?" i e., for what actor can make himself heard amid the uproar of our theatres? Virgil, Æn. vii. 756. 202. Garganum -nemus Ode il 9, 7. Cp. See Notes, 203. Et artes, divitiaeque peregrinae "and the works of art, and the riches of foreign lands." Artes here refers to the statues, vases, and other things of the kind, that were displayed in the theatrical pageants which the poet condemns. Cp. line 193; Epist. i. 6, 17; and Ode iv. 8, 5. 204. Quibus, &c.-laevae-" as soon as the actor has made his appearance on the stage, profusely covered with which, the right hand runs to meet the left," ie., applause is given. Quibus refers to divitiae, Le., to purple, precious stones, costly apparel, &c. Oblitus from oblino; but oblitus from obliviscor. 207. Lana, &c.-veneno-"the wool of his robe, which resembles the hues of the violet by the aid of Tarentine dye," i.e., his robe dyed with the purple of Tarentum, and not inferior in hue to the violet. Lana is here satirically used for laena (xλava), i.e, ianthina or violaceae vestes. Cp. Pliny, Hist. Nat., ix 39, 63, Nepos Cornelius, Me, inquit, juvene violacea purpura vigebat, cujus libra denariis centum venibat, nec multo post rubra Turentina. Huic successit dibapha Tyria. Veneno, like paguáng, medica mento. 208. Ac ne forte, &c.-Cp. Epist. i. 1, 13. The poet, afraid lest the severity of his criticism on the abuses of the Roman stage should be thought to be the result of envy and a malignant disposition towards an art in which he had no inclination to excel, proceeds to avow his admiration of dramatic poetry. Recusem nolim, not non possim. 209. Recte "with propriety." Maligne "sparingly," or "niggardly," opposed to "benigne." Laudare maligne-"to con demn by faint praise." 210. Ille, &c.-poëta-"that poet appears to me able to walk upon the tight rope," 211. Meam qui pectus inaniter angit"who tortures my bosom with unrealities," Le., by his fictions, as if they were realities. 212. Irritat-"vehemently excites." Falsis-" fictitious." 213. Ut magus-"like a magician," who professes to raise the dead. Thebis-Athenis Thebes and Athens were celebrated for the tragic sufferings of Oedipus and Ores tes, &c. like himself, were not included in the list of 214. Horace next pleads for those who, dramatic poets. capricious humour of an arrogant specia215. Spectatoris fastidia-superbi-"the tor." 216. Curam redde brevem-"pay some little attention." Reddere implies the payment of what is due. Cp. Ode i. 3, 7, and ii. 7, 17. For redde, Bentley substitutes impende on the authority of one manuscript. Munus Apolline dignum refers to the Palatine library, established by the emperor. See Notes, Epist. i. 3, 17. 217. Addere admovere, adhibere, or subdere in prose. Calcar"a stimulus." 218. Helicona-See Notes, Ode i. 12, 5. Virentem-" verdant," and therefore "inviting." 219. Multa, &c.-poetae-" we poets indeed often do ourselves many injufies." 220. Ut vineta egomet caedam mea-"that I may prune my own vineyards," i.e., that I may be severe against myself as well as against others is a proverb against those who wilfully hurt themselves. 221. Sollicito damus aut fesso-Cp. Sat. | sam ferre is "to debit" in a ledger. ii. 1, 18, and Epist. i. 13, 2. 223. Cum, &c.-irrevocati-"when, un asked, we repeat passages already read." Loca-Quintilian or Cicero would have used locos. Recitata-Authors were in the habit of submitting their productions to the critieism of friends before publication. Revolvimus refers to the form of their books. Irrevocati is borrowed from the stage. An actor was said revocari when his performance gave such approbation that he was recalled by the audience for the purpose of repeating it, or, as we would say, was encored. 224. Nor apparere-" do not appear," i.e, are not noticed. 225. Et tenui deducta poëmata filo-" and our poems spun out in a fine thread," i.e., and our finely wrought verses. Cp. Sat. ii. 1, 6, and Virgil, Ecl. 6, 5. 227. Commodus ultro (nos) arcessas— "you will kindly, of your own accord, send for us." Cp. Ode iv. 8, 1. 228. Et egere vetes-"and forbid us to want," i.e., and load us with gifts. 229. Est operae pretium is a formula of Ennius. Cp. Sat. i. 2, 37; ii. 4, 63; and Persius, Sat. vi. 9, Lunae portum, est operae, cognoscite, cives. Cor jubet hoc Enni. 230. Aedituos-"ministers," or "keepers." The Virtus of Augustus is here regarded as a goddess, the aeditui being those who took charge of the temples as keepers or overseers, and who in Greek were styled ἱεροφύλακες οι νεωκόροι. 233. Choerilus-There were four poets of this name-two tragic at Athens, contemporaries of Thespis and Aeschylus, &c.; one epic of Samos, who wrote a poem on the wars of the Greeks with Xerxes and Darius, and died at the court of Archelaus, King of Macedonia, not later than 399 B.C The one here referred to was probably from Iasus, a town of Caria, a worthless epic poet in the train of Alexander, who, according to the Scholiast, agreed at his own request, to give him a gold stater for every good verse he made, and a blow for every bad one. The latter are said to have been, so numerous, that his presumption nearly cost him his life, and caused the conqueror to tell him that "he would rather be the Thersites of Homer than the Achilles o Choerilus!" Augustus is more fortunate than Alexander, since he has a Virgil and Varius to celebrate his praises. Cp. Ars Poet., 357. Incultis, &c.-Philippos" who credited his unpolished and ill-conceived verses with receiving Philippi, royal coin." The idea is, that Choerilus was delighted to mark down how much he received for his poems. 234. Retulit acceptos - Acceptum (or in acceptum) referre is "to credit," as expen No misma (vóμsoμa), "a coin," is here for a gold stater (Tarng) which in Philip's time was worth 20 Attic drachinae, or 16s, 3d at Athens. It was called Philippus, because it had the head and name of Philip stamped upon it. 235. Sed veluti, &c.—linunt—“but as ink, when handled, leaves behind it a mark and a stain, so writers, generally speaking, soil Cp. distinguished actions by paltry verse.' Epist. i. 19, 30. 240. Alius Lysippo=alius quam Lysippus -"any other than Lysippus." Cp. ἄλλου Aurizmov. Cp. Epist. i. 16, 20. Duceret, dc., -simulantia mould in bronze the features of the valiant Alexander," lit., "fashion the bronze representing the features," &c. Ducere, when applied to metal, means to forge, mould, or fashion out, according to some proposed model. Cp. Virgil, En. vii. 634. 241. Simulantia = accurate exprimentia. Cp. Ars Poet., 19. Quod, &c.-natum call that acute -"but were you to perception, which he possessed in examining into other arts, to literary productions and to these gifts of the Muses, you would swear that he had been born in the thick air of the Boeotians," ie., du'ness was proverbial, but how justly, was as stupid as any Boeotian. Boeotian the names of Pindar, Epaminondas, Plutarch, and other natives of this country, will sufficiently prove. Much of the sarcasm on the national character of the Bævtians is no doubt to be ascribed to the malignant wit of their Attic neighbours. 244. Boeotûm-Com. Cruq. and Lambinus would have this to be an acc. sing. instead of a genera-It is uncertain whether, plur. as Comm. Cruq. says, the emperor presented each of them with (decies sestertium) 1,000,000 sesterces, i.e., about £8333, 68, 84. Multa dantis cum laude-"with much praise to the giver," on the part of the numerous admirers of these poets; or, as some would have it," with high encomiums on the part of the giver," to these poets. 247. Virgilius Variusque-See Notes, Ode i. 3 and 6. 250. Apparent is equivalent to exsplendescunt, or clare se demonstrant. Cp. line Satires and Epistles. Cp. Sat. ii. 6, 17. 224. Sermones-repentes per humum are his 251. Quam res componere gestas-“than tell of exploits." The poet again apologizes for not writing an epic poem on the achievements of Augustus. Cp. Ode i. 6, and iv. 15. 252. Terrarum-"of conquered lands." Arces montibus impositas-"of castles built on mountains." Cp. Ode iv. 14, 11. Some would have it to denote fortresses erected by Augustus to defend the borders of the empire. 253. Barbara regna-"barbarian realms," i.e., the many barbarian kingdoms which you have subdued. Tuisque Auspiciis Cp. Suetonius (Oct. 21), domuit partim ductu, partim auspiciis suis Cantabriam, Aquitaniam, Pannoniam, Dalmatiam cum Illyrico omni; item Rhaetiam et Vindelicos ac Salassos. Cp. Ode i. 7, 27, and iv. 14, 33. 255. Janum-See Notes, Ode iv. 15, 8. 256. Parthis-Cp Ode iii. 5, 2, &c.; iv. 5, 25; Carm. Sec. 53, &c.; Sat. ii. 5, 62; and Epist. i. 12, 27. 257. Si, quantum cuperem, possem (facere tantum) quoque-Cp. the saying of Aristarchus, Nec se posse scribere, quemadmodum vellet, neque velle, quemadmodum posset, and Sat ii. 1, 12. 258. Recipit-In the sense of admittit, as in Livy, xxix. 24, re jam non ultra recipiente cunctationem. 259. Ferre recusent-Cp. Ars Poet., 39. 260. Sedulitas, &c.-urget-" for officiousness disgusts the person whom it toolishly loves." 261. Cum se commendat" when it strives to recommend itself." 262. Discit is here equivalent to arripit. Supply aliquis. The allusion is not merely to the individual that is courted, 263. A caricature is more likely to be remembered than a panegyric. 264. Nil moror officium, quod me gravat -"I value not that officious respect which causes me uneasiness. Cp. Sat. 1. 4, 13. Ac neque, &c.-usquam-" and neither bave I the wish to be anywhere exposed for sale in wax, with my countenance formed for the worse," i.e., with disfigured looks. Cp. Sat. ii. 3. 183. 266. Decorari is here used ironically for deturpari. 267. Pingui-munere-" with the stupid present," i.e., carmine pingui Minerva facto 268. Cum scriptore meo"with my stretched out to view in an open box." panegyrist." Capsa porrectus aperta The title of the poem would contain both his name and that of the author. Many understand porrectus as "laid out for burial." Cp. Epode 10, 22. For aperta, some MSS. and Editions give operta. 269. Deferar-The de refers to the situ dentem" into the street where they sell." ation of the vicus Thurarius. In vicum venlit., "into the street that sells," to be used by shopkeepers. 270. Quidquid-Such as scombri ceteraque salgama-Cp. Persius, i. 43, and Martial, vi. 60, 7. Ineptis-Some two MSS. give inemptis. EPISTLE II.-This Epistle is made up of humorous excuses for not writing criticisms on poets and poetry; and moral reflections to show the superiority of philosophy to poetry. Addressed to Julius Florus. See Notes, Epist. i. 3. The date is uncertain, though generally supposed to be B.C. 11, when the poet was in the fifty-fourth year of his age. 1. Bono- See Notes, Epist. i. 9, 4. Neroni -Claudius Tiberius Nero, the future emperor. 3. Tibure-See Notes, Ode i. 7, 13. Properly Tiburi. Gabiis-See Notes, Epist. i. 11, 7. Et tecum sic agat-" and should treat with you as follows." Hic, &c.-ad imos-"this boy is both fair and handsome from head to foot." 4. Candidus does not refer to the mind, but to the complexion. 5. Fiet eritque tuus-"he shall become, and shall be, yours," is an imitation of the technical language of a bargain. Nummorum millibus octo-" for eight thousand sesterces," i.e.. £66 13s 4d, the sesterce being estimated at 2d. See Notes, Sat. ii. 7, 43. 6. Verna, &c.-heriles-" a slave ready in his services at his master's nod," i.e., prompt to understand and obey every nod of his master. Verna is here for servus, but properly denotes a slave born beneath the roof of his master, οἰκότριψ, δοῦλος oixoyevns. Cp. Sat. ii. 6, 66. Ministeriis is in the dat., not the abl. 7. Literulis Graecis imbutus - "having some little knowledge of Greek," and consequently able to be an anagnostes, a servus ab epistolis, or an a bibliotheca. 8. Argilla quidvis imitaberis uda-"you will shape anything you like with soft clay," i.e., you may mould him into any shape at pleasure, like soft clay. Some MSS. give imitabitur, which would make him a bonus figulus." 9. Quin etiam, &c.-dulce (carmen tibi) bibenti-" besides, he will sing an artless but sweet song to you when drinking.' 10. Fidem levant-"diminish our confidence," in a person. 11. Extrudere (eas)-"to get them off his hands." Some MSS. give excludere. 12. Res urget me nulla-"no necessity drives me to this step." Meo sum pauner in sented on the left side of the following cut, from a theatre at Pompeii. The shaded space immediately behind it, indicates the recess for the aul.ea. Vestem denotes the syrma tragicum, as exhibited in Notes, Ode li. 1, 11. Syrma (rúgua) is from rugw, "I drag." 216. Sic etiam-"thus also." Fidibusseveris-"to the stern (or solemn) lyre." Cp. line 107, and see Notes, Epode 9, 5, and Ode ii. 1, 9. Voces "notes." Crevere -"were added," lit. "grew." The strings of the lyre were gradually increased froin 3 or 4 to 7 or 8. See Note on line 203. 217. Tulit-protulit-"introduced." Eloquium insolitum-"an unusual style of language," "Le., a style of language that had hitherto been unusual on the stage. Facundia praeceps-"the (lit. headlong) impetuous eloquence," of the poet, not of the actor, as some would have it. Cp. Cicero, pro Caelio, 15, 35, Mente nescio qua effrenata atque praecipiti. 218. Utiliumque, &c.-Delphis-" and the sentiments (i.e., of the chorus) keenly perceptive of (lit., things expedient) what is presently useful, and prophetic of the future, did not differ in worth from oracular Delphi. Sagax is properly quick-scented. Divina, pávris. The duty of the chorus was to instruct and warn. 219. Sortilegis would apply primarily to Antium and Præneste, where the oracles of Fortune were determined by lots (Notes, Sat. ii. 1,47); secondarily, to Delphi, where they were given forth by the Pythia (Notes, Ode i. 16, 6). Hilgers and others understand discrepuit ironically, and supply obscuritate instead of virtute or sapientia. 220. Horace now proceeds to the Satyric Drama of the Greeks, as exemplified in the Cyclops of Euripides. Qui, i.e., tragicus scriptor, not Thespis. Cp line 276. Ob hircum -The prize of composition was a goat. Etymologically considered, Tragedy(reayadía, from gayos, a he-goat, and on, a song) denotes The whether it acquired the name from the exhibition of the oldest tragedies being accompanied with the sacrifice of a goat, or from a goat being the prize, or from the actors being clothed in goat skins. invention of the Satyric Drama is ascribed to Pratinus, of Phlius in Argolis, a contemporary of Eschylus, about 500 B.C. It was afterwards common to divide a tragedy into three great acts (trilogies) which were followed by an independent satyric drama, of a dithyrambic character. 221. Agrestes Eatyros nudavit-"brought the wild Satyrs naked on the stage," ie., exhibited on the stage performers resembling satyrs, naked, as compared with the rich dresses of the heroes. See line 228. Et asper, &c.-tentavit-"and with rough sarcasm essayed the joke, without abandoning the gravity of the subject," which implied the introduction of gods and heroes as well as satyrs. 224. Funciusque, &c. - exler-"after having performed the sacred rites, and become drunk and lawless." 225. Risores-"humorous," or "laugh ing." Commendare-" to recommend," or to introduce." Dicaces "witty," or "rallying." Cp. Sat. i. 4, 83. 226. Conveniet (poetae) it will be expedient for the poet." Vertere seria ludo"to turn serious subjects into sport," i.e, to make tragedy a farce. 228. The gods and heroes of the Satyric Drama were as richly adorned with gold and purple as those of tragedy. Nuper"but lately," is here used indefinitely-not with reference to the trilogy, as the same characters did not appear both in the tragedy and the farce. 229. Migret, &c.-captet-"should pass into dingy taverns by low language; or, while he shuns the ground, should grasp at clouds and empty space," i.e., should neither become vulgar in the comic parts, nor bombastic in the tragic, but resemble a Roman matron, modestly sharing in the mirth of a religious festival. 231. Effutire-"to prattle," or "gabble." Leves-trifling," or "silly." IndignaTra"disdaining." Cp. Epist. i. 3, 35. goedia is here personified, 232. Matrona-Cp. Ode iii. 14. 5. Mo veri-saltare-Cp. Epist. ii. 2, 125. 233. Intererit-"will mingle." Paulum pudibunda-" with some degree of modest dia, not with matrona. reserve." Pudibunda agrees with tragoc 234. Horace nexts treats of the language suitable for the Satyric Drama Though below tragedy, it should still be above comedy. Inornata, &c.-verbaque-"merely plain and unmetaphorical language," as in comedy. Inornata-pura, or sine tropis. |