MICROFILMED 1991 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK
as part of the "Foundations of Western Civilization Preservation Project
Funded by the NATIONAL ENDOWMENT FOR THE HUMANITIES
Reproductions may not be made without permission from Columbia University Library COPYRIGHT STATEMENT
The copyright law of the United States ~ Title 17, United States Code - concerns the making of photocopies or other reproductions of copyrighted material...
Columbia University Library reserves the right to refuse to accept a copy order if, in its judgement, fulfillment of the order would involve violation of the copyright law. :
AUTHOR: EDWARDS, H.
TITLE: ELEMENT IN THE SATIRES ...PART PLACE: BALT^MORE DA TE 1905 Master Negative #
COLUMBIA UNIVERSITY LIBRARIES PRESERVATION DEPARTMENT BIBUOGRAPHIC MICROFORM TARGET
Original Material as Filmed - Existing Bibliographic Record
BKS/PROD Books FUL/BIB NYC691-B56418 Acquisitions NYCG-PT FIN ID IAUG88-B12783 ~ Record 1 of 1 - Record added today
ID:NYCG91-B56418 RTYP:a ST:p FRN: MS: EL:1 AD 06-06-91 CC:9124 BLT:am DCF: CSC: MOO: SNR: ATC: UD 06-06-91 CP:nyu L:eng INT: GPC: BIO:d FIC:0 CON:b PC:r P0:1991/1905 REP: CPI:0 FSI:0 ILC: ME I :0 11:0 MMO: OR: POL: DM: RR: COL: EML: GEN BSE: 010 0637897 040 NNCt^cNNC 100 10 Edwards. Philip Howard, 1:dl878- 245 14 The poetic element in the Satires and Epistles of Horacet^h[ microform), ^npart I.
260 Baltimore,tt)J- H. Furst company , |:ci905.
300 47 p. , 1 KtC24 cm. 502 Thesis (PH. D.)--Johns Hopkins university. 500 Life.
504 Biblioqraphy : p. 46-47. Restrictions on Use: 600 20 Horatius Flaccus, Quintus-t^tEpistolae. 600 20 Horatius Flaccus, Quin tus.^^tSatirae. LOG RLIN QD 06-06-91
FILM SIZE:^^:5^jnoj:r)^^_^^^ REDUCTION RATIO:_[i IMAGE PLACEMENT: IaCuA^ IB IIB ^ __^ DATE FILMED:^2Z^Al INITIALS^^JIITX HLMEDBY: RESEARCH PUBLICATIONS, INC WOODBRIDGE. CT r
Association for information and image Management
1100 Wayne Avenue, Suite 1100 Silver Spring, Maryland 20910 301/587-8202
Centimeter 12 3 4 5 6 7 8 9 10 11 12 13 14 15 mm m'"""""'"l""l""l m liiiiliiiiliiiilimliiiiliiiiliiiiliiiiliiiiliiiiliii iiiiliiiiliiiiliiiiliiiiliiiiliiiilimlii mm I I I rTT n I M I TI I I n I 4]
1
Inches iM ||2.8 2.5 1.0 so " 1" IP-2 ?.2
2.0 £ LS, U I.I u ^
1.8
1.25 1.4 1.6
V
6>/ O
MRNUFRCTURED TO flllM STfiNDfiRDS
BY nPPLIED IMRGE, INC. !>" The Poetic Element in the Satires
and Epistles of Horace
PART I
BY PHILIP HOWAKD EDWARDS
31 ©iMfttatlon
SUBMIITEI, TO THE BOAKD OF UMVEBSITY STUDIES OF THE JOHNS HOPKINS CNIVERSITy IN CONFOEMITY WITH THE REdUIREMENTO FOR THE DEGREE OF DOCTOR OF PHILOSOPHY
1905 3* M. #ur0t Companis BALTIMOBE The Poetic Element in the Satires
and Epistles of Horace
PART I
BY PHILIP HOAYARD EDWARDS
3i Dtesiertacion
SUBMITTED TO THE BOARD OF UNIVERSITY STUDIES OF THE JOHNS HOPKINS UNIVERSITY IN CONFORMITY WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY
1905 5. M* fnxBt Companis BALTIMOSE ra CONTENTS.
PAGE. Introduction 5_i7 Previous views.—Testimony of Horace and its literal acceptation. —This testimony probably influenced by temperament and environ- ment. —The nature of the poetic touch in Horace.
Real Poetry 18-27 Poetic touch to strengthen the tone of genial pleasantry. —Nature descriptions. —Poetic similes and metaphors. —Passages suggesting the pastoral note. —Laudatory passages. —Passages reflecting philo- sophic earnestness. —The emotional element. —Passages in praise of wine.
Parody 27-34 Its nature in Horace. —Related passages where the contrast between the elevated and the conversational is prominent.
Elevated Passages 35-36
Poetic Reminiscence 36-45 The Iliad. —The Odyssey.— Epic phraseology. —Hesiod.—Mimner- mus. — Simonides.- Theognis.— Pindar. — Sophocles. — Euripides. —Theocritus. —Callimachus. —Ennius. —Catullus. —Lucretius. THE POETIC ELEMENT IN THE SATIRES AND EPISTLES OF HORACE.
INTRODUCTION.
The poetic element in the satires and epistles of Horace seems never to have been made the subject of thorough investigation. Owing to several passages in the satires and epistles themselves, the greatest unanimity has always existed upon one point in their interpretation ; viz., their essentially prosaic character. It would appear that from the very beginning this conception has held almost unquestioned sway over the minds of critics and authori-
ties. It is not altogether unnatural that this should be the case, nor is the position in itself a false one. On the contrary, in the . many perplexing questions which face us in the classical field, it is refreshing to have the author's repeated reference to the subject under discussion. In the present instance, however, I am con- vinced that the author's self-directed and apparently frank criticism
has had the eifect of obscuring certain other elements of his style,
equally operative, though of less extensive application. It is difficult to understand why this is the case. One would suppose that the very fact that a norm of style has been established by the author's own words would direct especial attiBution to the abnormal,
and prompt an investigation along that line.
To be sure the editions occasionally note an elevated or poetic
passage, for the most part in instances where it would be scarcely possible to ignore the change of tone. But scant reference has
crept into the introductions, where few have had the courage in the face of such clean-cut expressions as musa pedestris^ and per humum repenSj to give the matter the benefit of distinct treatment.
Lucian Mueller, Introduction^ p. xiii, is an exception sufficiently notable to be quoted: Zwar ubertreibt Horaz, wenn er (Sat, 1, 5 : : ;
6 The Podic Element in the Satires and Epistles of Horace.
56 fgdd.) behauptet, dass ohne das Metriim seine wie des Liicilius Compare vs. 41, where Horace refers to his own composition, Dichtungen wie Prosa erscheinen wurden. Es fiuden sich bei with vss. 45 ff., which concern comedy. The former is a guarded of ihm selbst und nocli ofter, soweit man nach den Fragmenten statement, the latter is a free and unrestrained expression urtlieilen kann, bei seinem Vorbilde Verse hoheren Schwunges, opinion, where the directness of the language is as evident as the wie ja auch die Erscheinungen des Lebens sich nicht ausschliess- conviction of the author. I do not wish to press this point too lich innerhalb hausbackener Prosa und niichtemer Alltiiglichkeit far, but in siqui scribat uti nos sermoni propiora there is to my bewegen. These are the most relevant words I have been able to mind a strong suggestion of modest understatement. The words find in the editions. nisi quod pede certo differt sermoni, sermo merus are occasionally Next in importance seems the observation of Nitsch, Introduc- cited by the editors as if they had direct reference to the satires tion to the Satires, vol. 2, p. 332. Die Sprache, welche Horaz in e, g.y Wickham, on Sot, 2, 6, 17. I believe such inference is diesen Gedichten redet, nahert sich allerdings der Prosa, wenn entirely unwarranted. wir es ihm schon darum nicht auf sein Wort glauben diirfen, dasz But Horace has something more to say. After citing an er iim dieser Gedichte willen, alien Anspruch auf den Rang eines example from comedy he continues, vs. 56 ff. Dichters entsagt. * his, ego quae nunc, Kiessling, Irdrodudion to the Satires, p. xvii, in discussing ScU. olim quae scripsit Lucilius, eripias si 1, 4, 39 ff., the most significant passage in the sermones, expresses tempora certa modosque et quod prius ordine verbumst the prevalent view, merging quite indiscriminately the departments posterius facias, praeponens ultima primis, of satire and comedy as the twin objects of the author's criticism. non, ut si solvas * postquam Discordia taetra His conclusions may be taken as representative of contemporary I Belli ferratos postis portasque refregit,' opinion ; viz., that there is little or nothing of the poetic in the invenias etiam disiecti membra poetae. satires of Horace. The above must serve as the most detailed remarks to be found In these lines we have that to which the whole passage has been in the authorities upon a side of Horatian style certainly deserv- tending ; viz., a return to the criticism of Lucilius which he had ing more careful investigation. begun in the opening of the satire. There is reason for believing First, then, let us examine the passages referred to above. The that Horace has here employed the well-known device of includ- most important is Sai. 1, 4, 38 ff. ing himself in a criticism whose arraignment is principally intended agedum, pauca accipe contra, for another. It is well known how far-reaching was the influence primum ego me illorum, dederim quibus esse poetis, of Lucilius, not only in his own time, but through the first century D. is probable, therefore, that as early as this fourth satire excerpam numero : neque enim concludere versum 40 A. It Lucilius not dixeris esse satis ; neque siqui scribat uti nos Horace foresaw that his severe handling of would go sermoni propiora, putes hunc esse poetam. unchallenged, though he was perhaps not prepared for the storm
ingenium cui sit, cui mens divinior atque os of protest which required his lengthy defense in the tenth satire. magna sonaturum, des nominis huius honorem. In this connection it is interesting to mark the striking differ- idcirco quidam comoedia necne poema 46 ence of tone in the first satire of the second book, where the
esset quaesivere, quod acer spiritus ac vis early discussion is throughout ignored, and where every reference nee verbis nee rebus inest, nisi quod pede certo to Lucilius is laudatory; cf. vss. 16 f., vss. 28 f., and a longer differt sermoni, sermo merus. : : :
The Poetic Element in tlie Satires and Epistles of Horace. 9
one, VS8. 62-75. We cannot but feel that in this later reference every department of his work. The subjects he here disclaims as to Lucilius we observe the truer and more general attitude of beyond the flight of his muse correspond remarkably with those Horace toward the man who was in so many senses his model. treated in certain of his odes written in honor of royalty, espe- But we must not forget that while Lucilius was the closest model cially those of the fourth book; see Odes 4, 5, 14 and 15. that he was also the closest rival in the department of satire, and Compare especially Sat. 2, 1, 10 ff., where Trebatius advises Horace, though disinclined to contest the honors of a great pioneer Horace to do the very thing he liere disclaims ; that is, to write in a comparatively new branch of literature,* justly contends for epic. Horace refuses on the same ground, his inability, adding the limitations which that unfamiliarity entailed. two or three lines of genuine epic to prove his assertion ; cf vss. However that may be, there is a probable concession to the 13ff. In the same vein cf. Od. 1, 6, off., Od. 4, 2, 27 ff, and popularity of Lucilius in whatever criticism appears in Horace. Od. 4, 15, Iff., where again we find the accompanying epic satire that in including himself In the fourth concession consists touches. also Cf Od. 1, 19, 10 ; Od. 2, 12, 1 ff. in the same category as Lucilius, and this fact is not without its In this connection A. P. 304 ff. is an interesting passage, and bearing upon vss. 41 ff., and 56 ff. something of a stumbling-block judging from the variety of Let us now consider Another passage, Sai, 2, 6, 17 : interpretations
ergo fungar vice cotis, acutum ergo ubi me in montis et in arcem ex urbe removi, reddere quae ferrum valet, exsors ipsa secandi quid prius inlustrem saturis musaque pedestri ? munus et officium, nil scribens ipse, docebo, These lines are in setting and expression playful. Here the unde parentur opes, quid alat formetque poetam, proportion of modest understatement must carefully be weighed, quid deceat, quid non, quo virtus, quo ferat error. as also in Epp, 2, 1, 250 if. Miiller quite arbitrarily understands nil scribens of tragedy, on nee sermones effo mallem the ground that the honored lyrist could not exclude himself from repentis per hu.u. qua. res conponere'gestas, the general category of poets. Orelli extends the scope of the terrarumque situs et flumina dicere et arcis words and interprets nullum poema epicum aut dramaticum, sed montibus inpositas et barbara regna tuisque sermones dumiaxat et lyrica quaedam, adding inest tamen festiva ironia, qua propria carmina elevat. This tone of /estiva ironia auspiciis totum confecta duella per orbem is self-evident, notwithstanding the fact that this passage claustraque custodem pacis cohibentia lanum marks the transition to the most serious discussion of tlie poem, and et formidatum Parthis te principe Romam, that the remainder of the passage itself outlines that discussion. I si quantum cuperem possem quoque ; sed neque parvum can see, however, no compelling reason for supposing that carmen maiestas recipit tua nee mens audet the words nil scribens are to be understood solely of tragic rem temptare pudor quam vires ferre recusent. or epic style. In consideration of the well-known habit of the poet sedulitas autem stulte quem diligit ui^et, as illustrated in the examples cited above, it would be better to praecipue cum se numeris commendat et arte. see in these words a reference to poetry in general. If we so inter- The apologetic tone is frequent in Horace and is found in pret, it is interesting to compare the three places in which Horace characterizes the style of the satires, in as much as this passage ^Sai, 1, 10, 48f., was written several years after neque ego illl detrahere ausim the publication of the first three liaerentem capiti cum multa laude coronam. books of the odes, which none will deny to be poetic. 10 The Poetic Element in the Satires and Epistles of Horace, 11
expression Now let us turn from these passages to the consideration of more unrestrained, give it a character for careless ease, and another question. Horace shows an affectionate preference for everywhere the most elegant care is manifest for effecting the artistic the style of composition he adopted in the satires and epistles. agreement and unity of contents and cadence. Elision of vowels, The very unrestraint which had always been a characteristic shunning evidence of scrupulous choice, is employed abundantly, feature of this branch of literatui-e would in itself appeal force- as in the spoken language." Sellar, Horace and the Elegiac Poets, fully to such a temperament. Assuredly, therefore, there is nothing p. 51, speaks as follows: "Had Horace lived in recent illogical in the supposition that undoubted poetic genius coupled times he would probably have been as accomplished a writer with such inviting departmental freedom might give rise, nay, of prose as of verse. The subjects of his satires are essentially under favoring conditions would be almost certain to give rise, to prosaic. They deal with the material of daily life in a elevated and poetic types of thought and expression. The collec- style as nearly as possible approaching to the language of familiar ^ * tion and examination of examples to be cited later attest that conversation." these types are particularly to be expected under certain motives The above are brief representative views of a well-nigh inex- haustible and in connection with certain objects which exerted a peculiarly mass of criticism bearing upon the satires, all emphasizing the strong and lasting influence upon the jxyet's life. In these passages view that their subject matter is essentially prosaic, their treatment correspondingly are reflected his love of nature, the relations of friendship and unimaginative ; in fact, only modified intimacy he bore to powerful men of his day, the influence of by the necessary laws of versification. fellow poets both personal and literary, social cultivation, his love Now it is no part of my intention to combat the underlying truth of current criticism of the country frequently intensified by the pride of ownership. upon this subject ; viz., that Horace has large Often, too, the warmth of philosophic discussion elevates the style made use of the conversational sphere. This goes without saying. But one or into the sphere of poetry. two things must be borne in mind ; first, in To deny the great mass of the conversational element apparent accordance with the line of argument above advanced, the passages professing in the usage of every part of speech in the sermones would be to establish Horace's own opinion must not be called upon to futile.* extend and distort this characteristic of style until it become This phase of the subject has received much attention in the a fabric completely obscuring the real nature of his art. For editions. these passages considered in the proper light and in their proper As regards meter, Ribbeck, GeschicJite der romischen IHchiungy setting strongly suggest that Horace is conscious, and feels effort is the restraint of that II, p. 160, observes, "With great but concealed art every consciousness, that the sermoni propiora are not made to give the verse the stamp of the prose style, without, how- always remote from other spheres, and that pedesbis and per ever, transgressing the laws of euphony and rhythm. In the first humum repens are not full and satisfactory epithets for his muse. I place, all those metrical forms which are peculiar to poetry are am aware that this interpretation of the references cited from tlie sermones is avoided if possible. Such caesurae, therefore, are proportionately not in accord with the persistent tradition regard- more employed which strike the ear with the natural (Trochaic) ing them. But it should be remembered that literary criticism cadence of the Latin language. Frequent spondees render the need not be true to be enduring. Alexander Pope furnishes a striking example in English poetry. The revolution of the > and classification of examples is found in the treatise An interesting collection Eomanticists is the verdict handed down and accepted to the of F. Barta, Sprachlkhe Studien m den Satiren des HoraXj ii Theil. Program, Linz, SyncopierU 1881. See for instance Ms chapters entitled Umgang^&nndn, p. 23 ; *Cf. Wickham, vol. ir, p. 7. Formeiiy p. 29. The Poetic Ekmevit in the Satires and Epistles of Horace. 13
present day. It went hand in would appear that this reactionary movement liand with the department from the very beginning, in setting the mold for art it though we should modem poetic has given, if has not even feel assured that this association antedates established for all all our existing time, the form which criticism must take in literary monuments, I am firmly convinced, view-
respect to Pope ; viz., certain stereotyped comparisons, first with ing satire in its development as a department of literature, that his great predecessor Dryden, later with the foremost champions the conversational is not to be regarded as the necessaiy, in the of the Romantic School. The result was as predestined as the absolute use of that term, but rather as tlie most natural reflec- judgment of Paris. age tion of that An of new and reactionary ideals has which is vitally departmental; viz., unrestraint. from its own point of view Conceding, therefore, passed a judgment w^hich, if reduced whatever we may be individually inclined to merest outline, would read " Pope was not Dryden," or, " to attribut.i to the influence Pope of tradition, the retention of the dia- was not Wordsworth." is logue and It significant that even to the present conversational element in Horace, as elsewhere, argues day Pope is not discussed upon his own merits. His unique quite as much its inherent fitness for a definite literary r6le. position in literature could of course at time Chat is the personification no be overlooked, but of literary unrestraint. Chat, there- the mass of adverse comparison fore, with its has made this concession an ele- outgrowths, dialogue and easy discourse, naturally ment of "faint praise" in the final effect. A curious phase in plays an important part in the sermones. this tradition is the persistency of the established criticism as The fact that these same elements are found in like degree in compared with the lack comedy, and that of first hand acquaintance with the in both satire and comedy they probably spring author. The mind of the writer has in this from a like origin investigation con- may have led to the association of the two stantly reverted to Pope, with in style Horace has departments in the whom numerous mind of Horace, as seen in the fourth satire. points in common. The j^ersistent application of the file is a However, Horace could no more have ignored the real poetry to cardinal point in both creeds, and the resulting be found in the old product, the aurea comedy than we can ignore the glimpses of mediocrUaSy has enriched both the same in the satires languages with a large number of and epistles. For just as conversation, expressions which remain indelibly fixed the especially of the educated upon memory. class, being the faithful mirror of fleeting Striking similarity in parodic treatment impressions, is broad in occurs, and their styles scope, including it may be the imagina- reveal other points in common which cannot be discussed. tive and poetic, so departments now of literature in which the vital Allusion has already been made to the exceptional characteristic is unrestraint adaptability do no violence to their traditions by and congeniality of satire in its marshaling their traditional unrestraint as a vehicle materials from well-nigh the whole range of of expression for our poet's genius. This characteristic of the literary art. department manifestly stretches back to the The breadth of range remotest outline of of the old Attic comedy is an appreciable literary monument until the whole subject is shrouded in the influence in the sermones of Horace,^ and as real poetry is an uncertainty and conjecture which surround its origin. unmistakable element in This tradi- the style of Aristophanes, so in the cita- tional tion of examples unrestraint is reflected not only in the detailed treatment of from the sermones we are to observe the important Horace's style, but in his role it plays in selection of topics and situations; Roman Satire. As a matter of fact, Horace him- witness the variety of subjects treated in the satires, self outlines the composite and within nature of his art, and it is strange the range of such selections observ^e with what freedom flits indeed that, in the interpretation he of the satires, so little cx)n- from point to point, often careless of strict logical sequence, the sideration has been given to this passage {Sat. 1, 10, 9 ff.) : embodiment of his own metaphor mreumvolitas agilis thyma. »Sat. 1, 10, 16 f.; 1,4, Iff. Now, however sure we may feel that the conversational element The Poetic Ekmerd in the 14 Saiires and Epistks of Horace, 15
est brevitate opus, ut currat sententia neu se lished that the resemblances outweigh the differences, though the inpediat verbis lassas onerantibus auris, latter are far from slight. No one can pass directly from the et sermone opus est modo tristi, saepe iocoso, satires to the epistles without being duly impressed with the change defendente vicem modo rhetoris, atqm poetae, of atmosphere, a change however which is somewhat baffling to interdum urbani, parcentis viribus atque analyze. Most of the apparent differences stand upon one or two extenuantis eas consulto. primary distinctions. The first is a formal distinction in the adoption of the epistolary style. Most of the remaining distinc- Tliere are those who regard the conversational element as the tions reflect the natural development of the poet's life. In the poet's express device to lend the stamp of the prosaic. Such epistles we mark a broader circle of literary influence, and a must admit, however, that the disguise is not complete ; in other consequent growth of literary appreciation. The years which words, that there are glimpses of true poetry, poetry of a high elapsed between the two productions were years in which metrical order, where there is probably no conscious imitation on the part elegance was being more and more insisted upon. This is reflected of the poet ; such passages as appear in the spontaneous expres- in the superiority of the epistles. Maturity has substituted much sion of personal feeling ; other passages which can be traced to an philosophical lore and discussion for the brimming life of the imitation of earlier Greek and Latin poets of the first rank, to satires. Maturity too has wrought conservatism, and in the field say nothing of poetic vocabulary and phrase, poetic syntax, epic of humor we note in the epistles the substitution of the refined parodies, adaptation of epic content, and other poetic types. But and urbane for the more boisterous mirth of the satires. The the poetic, rhetorical, and conversational elements are the natural critical faculty and the didactic element are more marked in the manifestation of a great departmental principle. To see in the epistles.^ One thing well worth observing is the almost entire predominance of the conversational element nothing more than an absence of parody in the epistles, and with parody are lacking the individual device is to reverse cause and effect, as well as to rapid contrasts treated in the same connection. No doubt this accuse Horace of grave lapses from a definite rdle. phenomenon is also partly due to the above mentioned formal In this investigation the epistles have been included for the distinction but not altogether. ; Parody is easy. It has not the reason that the results would be unsatisfactory if we were left in same charm for maturity as for youth. doubt as to the standing of the epistles from this point of view. The poetic passages in description of nature also show a majority Moreover, Horace bears personal testimony^ to the close relation for the satires. But in the laudatory passages, o^ving to the more of this later literary activity to his satires, by the employment of prominent personal element, and in those where the pastoral note the term sermones. There can be little doubt that this includes is discernible, the epistles present more poetic material, although both satires and epistles. External testimony points in the same some of the best in both categories occur in the satires. The direction see Quint. 1, 10, 94 ff., who in the discussion of Horace ; same is true of the passages where philosophic earnestness affects has no separate head for the epistles.^ These passages will speak the style. The fine passage longer than the rest, reflecting for themselves. There is no need here to treat at length the dis- Lucretius in the description of primitive man occurs in the satires cussions to which these and other direct or indirect references in 99 ff.). Cases (1, 3, of notably poetic comparisons also show the antiquity have given rise. Internally, as well, it is clearly estab- epistles in the lead.
In our effort to discover the poetic element ^Epp, 2, 1, 250; 2, 2,60. in the satires and
'CJompare Sidmius Oarm. 9, 221 ff. ; Porphyr. on Serm, 1, 1, 1 ; also on Epp.
*See Brand, /. c. 1, 1, 1.
V I : : :
Satires and Epistles of Horaoe, 16 The Poetic Element in Ow 17
may not be shown in the words often distorted imagi- which embody a thought as well epistles the way is not blazed by that lofty, as in the thought the " low relief which they embody. To express a thought in characteristic of much modern verse. Of nation language Modera- is in truth to express a larger conception by the help " Horace is by nature a fit representative. of of antiquity a number of smaller ones ; and the his composition as well as same poetical faculty which tion and self-restraint are the keys to originates the see one may well be employed in producing the without direct testimony ; other. to his life. Again we are not left It is not merely that the adaptation of the words to the thought A, R 333 ff. itself requires a poet's sense, though this is much ; but that the volunt aut delectare poetae words themselves aut prodesse are images, each possessing, or capable of iucunda et idonea dicere vitae. possessing, a beauty aut simul et of its own, which need not be impaired, but esto brevis, ut cito dicta naay be illustrated quidquid praecipies, and set off, by its relative position, as contribu- animi dociles teneantque fideles : ting to the development percipiant of another and more complex beauty. It pleno de pectore manat. is not necessary that omne supervacuum these words, in order to be poetical, should voluptatis causa sint proxima veris be picturesque in the strict sense ficta of the term ; on the contrary, it volet poscat sibi fabula credi, may suit the poet's object ne, quodcumque to make a physical image retire into the pransae Lamiae vivum puerum extrahat alvo. shade, not advance into prominent neu light : but the imagination wiU still be appealed to, whatever may be the avenue of approach— Horace extends to the minutest details of his by The genius of the effect of perspective, by artful juxtaposition, by musical sound, trace every application of the file. art. We must be willing to or perhaps, as we have already seen, ff. by remote inteUectual ; and especially A. P. 45 See A. P. 289 ff. ; Epp. % 1, 167 association."
serendis, With the Horatian method so clearly in verbis etiam tenuis cautusque outlined by the author's own dictum, it is evident that hoc amet, hoc spemat promissi carminis auctor. but one course is open to this investigation; viz., an examination dixeris egregie, notum si callida verbum of the smallest elements of style the ; sentence, phrase, and reddiderit iunctura novum. vocabulary. This examination it is our purpose to make from both the when he literary and syntactical I suspect were in the mind of Conington These lines points of view.' Our attitude toward the the passages in Horace expression to the following, especially, as in gave such apt which have been supposed to renounce all claim to poetic art is reference to Horace's dictum same paragraph he makes prominent that these passages at most can refer to the general texture of of the file:' style, and that the modest understatement so apparent in their perhaps, not sufficiently to consider what is <«We are apt, setting prompts just such an investigation. of poetry. We distinguish sharply involved in tlie style or diction Mueller has observed that the passages of poetic elevation are the language, as if the power between the general conception and for the most part very short. This is so, but again characteristic were something quite different from the which strikes out the one of our author's style, and producing a distinct effect, for tiiis doubt there is a difference which elaborates the other. No " effect of skill detachment " appears quite as frequently in the must place a poet like odes, the two operations, and one which and again between recalls one of the leading characteristics of Pope. with the writers whom he Virgil at a disadvantage as compared imagination be a mistake to suppose that 1 The syntactical side of the followed ; but it would investigation will appear at an early date.
revision, vol. i, p. 16. ^MU, aj Verffil, Haverfield's — :
|g The Poetic Ekinent in tlw Satires and Epistles of Horace. 19
wishes to convey by this apparently serious and poetic reference REAL POETRY. to mythical material, as is seen in the immediate and abrupt: quid rides? mutato nomine de te fabula | narratur. Cf. the fruitless to classify, as appreciative In a large class of examples it seems note of Fritzsche on the felicitous word collocation. to attempt to establish a law for the rapid play to be Even the gastronomic satire fruitless as (2, 4) has its parallels ; vs. 30 distinctive in lubrica observed throughout the satires. Nothing is more nascentes inplent conchylia lunae; vs. 77: angustoque the satires of Horace than their rapid transitions. We may observe vagos piscis urgere catino. the conversational, Sat. almost within the compass of the same sentence 2, 5, 49 : siquis casus puerum egerit Oreo. An oracle has element. The poetic touch, as seen naturally a poetic setting, Sat, elevated, poetic, and parodic 1, 9, 31 : hunc neque dira venena, tone of in many of the following examples, is to strengthen the nee hosticus auferet ensis. effected through contrast, In Epp, genial pleasantry. This object is often 1, 19, 44 : fidis enim manare poetica mella | te solum, of an —Kiessling the poetic touch being in striking proximity to treatment sees the possibility of a poetic reminiscence and com- pares //. entirely different nature. 1, 249 : Tov Kal airo yXaHrary: fiiXiTO^ yXvKiwv p^ev avS^. first Sat, 102 f., rubro ubi cocco Mark the playful touch, Epp. As examples, mark 2, 6, | 1, 18, 64: donee | alterutrum closely velox victoria canderet vestis eburnos,^ where following fronde coronet ; also Sat. tmcta super lectos 1, 5, 97 : dehinc Gnatia have a poetic description of lymphis iratis exstructa dedit upon an amusing epic parody we | risusque iocosque. apartments. Thus most of the fable of the country Sat,^ 2, 1, 57 f., seu me tranquilla senectus luxurious | exspectat seu Mors to atris circumvolat and the city mouse has the setting of lofty style in contrast alis,—Horace grows poetic over his determina- tion to write : cf. Verg. 6, 866 Tibul. the simplicity of subject. ; 1, 3, 5 ; Iliad, 2, 834, and Satire especially There is much of a similar character in the Canidia 16, 350; Odyss. 4, 180. in the description of the Sat, 2, 7, 115: nam comes (1, 8), for instance, the poetic touch atra premit sequiturque fugacem. luna decorum protulit os,—cf. Kiessling notes, Der Gedanke ist f., simul ac vaga das Motiv moon, vss. 21 | zu Od. iii, 1, 37 fg,
: und hat terris ostendit honestum ; A. 8, 589 dem beriihmten post equiteni Verg. G, 4, 232 : simul os sedet atra cura seine Farbe os sacrum caelo. Observe too the elegance geliehen. Note the immediate transition in Lucifer .... extulit the rejoinder : unde versant atque venenis humanos mihi lapidem ? of vss. 19 f., carminibus quae | egoraet In Epp. weird solemnity of vss. 23 ff. : vidi 2, 2, 79 f , observe the contrast animos. Mark the of the lines : tu me palla Canidiam, .... pallor utrasque inter strepitus nocturnos atque diumos nigra succinctam vadere | | | vis canere et contracta scalpere terram unguibus et pullam sequi vestigia vatum ? feoerat horrendas adspectu. | confusus, Sat. f., agnam coeperunt : cruor in fossam 1, 6, 23 sed fulgente trahit constrictos divellere mordicus | Gloria cumi non | minus ignotos inde manis elicerent animas responsa daturas .... Hecaten generosis. Mark the easy reference to ut | the fable altera Tisiphonen. With vs. 34 the fantas- immediately preceding, in propria non pelle vocat altera, saevam | quiessem, and the con- of the poetic, versational style tic imagination again lifts us into the sphere immediately following, quo tibi, TiUi sumere | infemas errare canis Lunamque rubentem. depositimi clavum fierique tribuno? Cf. Epp. serpentes atque videres | 2, 1, 177. captat Sat. : a labris sitiens fugientia 2, 3, 136: in matris iiigulo In Sat, 1, 1, 68 Tantalus | ferrum tepefecit acutum? the impression he Wickham marks the contrast flumina—^Horace is his own commentator for between the epic realism of the line and the semi-comic conclusion of the passage. edition of Kiessling. » The dtatioQ of examples k tliioug;howt from the :
The Poetic Element in the Satires and Epistles of Horojce. 21
annis mUes ait, multo iam fractus membra 8atA,l,4lf gravis | Most of the examples quoted above are in description of far kbore. away scenes of Thrace, India, etc., but those at home claim none natural the less share of the poet's attention, especially when the pride We will next cite passages in description of nature or lends charm in the eyes of the poet. phenomena. of ownership Thus in the radit terras sen bruma nivalem opening of the sixteenth epistle of the first book, addressed to Sat. 2, 6, 25 f., sive aquilo | strik- Quintus, a rather longer description of his estate than usual dis- interiore diem gyro trahit. The verb radere has numerous
f., acre lapsa closes many poetic touches, one of which occurs in vss. 5 ff. ing uses in the poets ; cf. Verg. A, 5, 216 mox Cf. continui montes dissocientur opaca valle, sed ut veniens dextrum radit iter liquidum, celeres neque commovet alas. | quieto | latus aspiciat sol, laevum decedens curru fugiente vaporet, " level wing the deep.'' | Milton, Far. Lost, ii, 634 : Shaves with | temperiem laudes. Other descriptions associated with winter occur. Sat. 1, 1, 36 : Cf. Verg. G, 3, Epp. 1, 18, 104f., me quotiens reficit gelidus Digentia rivus, simul inversum contristat Aquarius annum. | quem Mandela bibit, rugosus frigore pagus. With the last phrase 279 : pluvio contristat frigore caelum. it is interesting to compare a line in Shelley's Frometheus Unbound, poetic verse in Sat. 1, 7, 27 : ruebat We have an undoubted | Act 1, "Ye icy Springs, stagnant with wrinkling frost," and still flumen ut hibemum, fertur quo rara securis. It is in marked — nearer to our passage, Act 2, scene 1, contrast to its setting in the wordy war between Rupilius Rex nullaque diu Persius. Cf. Ov. Fast. 4, 649 : silva vetus and " When swift from the white Scythian wilderness securi. violata A wind swept forth wrinkliiig the Earth mth frost" Note the following rapid panorama of distant scenes, where,
ff. Thracane too, personification lends poetic color, Epp. 1, 3, 3 : Sat. 2, 6, 91: praerupti nemoris patientem vivere dorso? vinctus, au freta vicinas inter comes again from the fable of the city and the country vo8 Hebrusque nivali compede | mouse. an piugues Asiae campi coUesque morantur? Observe the poetic one line description of Anxur as it breaks currentia turris, |
Cf.Epp. 1, 16, 12f. upon the view in the journey to Brundisium, Sat. 1, 5, 26 With this flitting from point to point, yet in their choice of inpositum saxis late candentibus Anxur.
I i the simny side of nature a contrast to the above, compare A. P., In this connection we will cite a few similes and metaphors.
et properantis aquae per amoenos Two come under nature descriptions. Sat. ; see 16ff. : cum lucus et ara Dianae | 1, 7, 27 p. 20. arcus. flumen Rhenum aut pluvius describitur Epp. 1, 16, 13 : ut nee frigidior Thracam nee purior ambiat ambitus agros | aut | extremes 5 f., quid censes munera terrae, quid maris Hebrus. In these, as in the following, note the employment of Epp. 1, 6, | Arabas ditantis et Indos. Sat. 1,4, SO: vespertina tepet regio. the river, a favorite comparison with our author. The brief poetic touch is again in contrast with it^ setting. The bard in his choice of felicitous expression will flow like der Rede bemerke MuUer notes : In Bezug auf den erhohten Ton a crystal stream, Epp. 2, 2, 120: vemens et liquidus puroque in Satiren und Episteln, wo er von der simillimus amni fundet opes Latiumque beabit divite lingua. man, dass Horaz ofters |
fi\ pathetisch wird. Cf. Sat. 1, 1, 38 Elpp. 43 : at ille labitur et labetur in omne volubilis auri sacra fames redet, 1, 2, | ferat Aufidus acer. Cf. Sat. 1, 1, 58 : cum ripa simul avolsos aevum. tauriformis volvitur Aufidus, qui regna The vocabulary of a language grows old, words change Od. 4, 14, 25 ff*.: sic | and die cultis diluviem prsefluit Apuli, cum saevit horrendamque | away like the leaves of the forest, A. F. 60 : ut silvae foliis Dauni | Od. 2. meditatur agris, Od. 3, 30, 10 ; violens Aufidus. 4, 9, pronos mutantur in annos. I The comparisons, as we shall so frequently observe elsewhere, :
The Poetic Element in the Satires and Epistles of Horace, 23 are sometimes in contrast to the amusing setting of the descrip- of the return of peace and the golden age is Epp. 1, 12, 28 f., fruges Italiae pleno defudit Copia cornu. Cf. Hor. O. S, tion, as at the upstart's dinner party, Sat 2, 8, 13 f., ut Attica aurea |
ff. f., adparetque beata pleno Copia cornu. There are numerous Virgo cum sacris Cereris procedit fiiscus Hydaspes. Vss. 54 59 | I inteTei suspensa gravis aulL ruinas in fecere, ti^hentia parallels in Horace. Cf Od. 1, 17, 16 ; 4, 2, 40 ; 4, 5, 17 ; 4, | paLm pulveris atri quantum non aquilo Campanis excitat agris. Cf. 15, 5. Material prosperity with rich harvests lends much of the | Sat. 1, 4, 31. attraction in all these pictures. In the following the editors have noted a probable reminiscence. Sat. 2, 2, 124f., ac venerata Ceres, ita culmo surgeret alto, |
Sat, 1, 1, 114 ff.: w<, cum carcerihus niissos rapit ungula currus, explicuit vino contractae seria frontis. Cf. Verg. Eel. 5, 39 ; 6, | instat equis aunga suos vincentibus, ilium praeteritum temnens 39 ; G. 1, 161. | extremos inter euntem. Verg. G. 512 ff.: saevit toto Mars J^jp. 1, 16, 2f., arvo pascat erum an bacis opulentet olivae, 1, | impius orbe; ut cum carcerihus sese effudere quadrigae, addunt pomisne an pratis an amicta vitibus ulmo. | | in spatio, et frustra retinacula tendens fertur equis auriga, neque Epp. 1, 2, 45 : et incultae pacantur vomere silvae. Sat. 1, 1, | audit currus habenas. 28 : ille gravem duro terram qui vertit aratro. Cf. A, P, 66.
6 , ego laudo ruris amoeni rivos et musco cir- Examination shows the setting of the Horace passage quite Epp. 1, 10, f | natural and easy, whilst the comparison of Vergil seems not well cumlita saxa nemusque. Cf. Verg. Ed. 6, 62.
Epp. 1, 16, 8 ff. : quid, si rubicunda benignae coma vepres et chosen. Sellar, Roman Poets, Vergily p. 174, thinks Vergil had | pruna ferant? si quercus et ilex multa fruge pecus, multa domi- the Horace passage in mind. He is followed by Wickham. |
Kiessling leans to the same solution ; see his note, and introduc- num invet umbra?
Epp. 1, 4 ff. : hand quia grando contuderit vitis oleamve tion to the satires, p. xiv f. 8, | aestus, aegrotet in Compare the simile of the bear, A. P. 472 f., ac velut ursus, momorderit | nee quia longinquis armentum | obiectos caveae valuit si frangere clathros; of the bee, Epp. 1, 3, agris. Sat. 37: namque neglectis urenda filix innascitur agris. 21 : quae circumvolitas agilis thyma? of the horse, I^p, 1, 2, 64 : 1, 3, | fingit equum tenera docilem cervice magister,—of the hunting-dog, Cf Verg. G, 2, 189 : et filicem curvis invisam pascit aratris.
Epp, 26 ff. : et tamen urgues iam pridem non tacta Epp, 65 ff., venations, ex quo tempore cervinam pellem 1, 14, | 1, 2, | ligonibus arva disiunctum curas et strictis frondibus latravit in aula, militat in silvis catulus. bovemque | |
The following are less striking, Epp. 2, 2, 201 f., non agimur exples. tumidis velis aquilone secundo, non tamen adversis aetatem E^p, 2, 1, 207 : lana Tarentino violas imitata veneno. Cf. |
Verg. Eel, 4, 42. Epp, 2, 2, 160 f., et vilicus Orbi, cum segetes ducimus austris. Sal. 2, 1, 40 f., et me veluti custodiet ensis | | vagina tectus. occat tibi mox frumenta daturas. Cf. Sat. 2, 2, 115,
Note in the comparison Horace makes for Fuscus in Epp. 1, Several pastoral passages are to be noted, some strongly recall- 10 how the poetic touches appear on the side of the country as bg the ecC of Verg, which it is mo're than liJ/norac against the city; see Epp. 1, 10, 6 f., cited above. Cf Epp, 1, had read or heard. Sat. 1, 10, 44 f., molle atque facetum 10, 15 ff.: est ubi plus tepeant hiemes, ubi gratior aura leniat | | Vergilio adnuerunt gaudentes rure camenae, would suggest not et rabierfi Canis et momenta Leonis, cum semel accepit Solem | only that Vergil had published his eclogues, but that Horace furibundus acutum ? In the city even an artificial likeness to the appreciated and had imbibed some of their spirit. country commends itself, vss. 22 f., nempe inter varias nutritur
Seemingly reminiscent of the fourth eclogue in its suggestion silva columnas, laudaturque domus longos quae prospicit agros. | : :
24 The Poettc Element in the Satires and Epistles of Horace, 25
From these passages together with those cited under nature terras hominumque colunt genus. Here in the adulation of the descriptions, we are in a position to suspect the correctness of poet Augustus is grouped, at least by implication, with the deities
Tyrrell's view that Horace was not a lover of the country for its of vs. 5, and with Hercules in vss. 10 ff. own sake ; see his " Latin Poetry," p. 189 ff. Elevated, and frequently poetic, is Epp, 2, 1, 245 ff.
The next group to be considered is composed of distinctly at neque dedecorant tua de se iudicia atque laudatory passages. By far the greater number pertain to munera quae multa dantis cum laude tulerunt Augustus, many to his military achievements. As we should dilecti tibi Vergilius Variusque poetae, expect these passages reveal considerable poetic material. We nee magis expressi voltus per aenea signa note first the achievements of Augustus among the Parthians, quam per vatis opus mores animique virorum
Epp, 54ff. : denique saevam militiam puer et Cantabrica clarorum adparent. nee sermones ego mallem 1, 18, | bella tulisti sub duce qui templis Parthorum signa refigit. Cf. repentis per humum quam res conponere gestas, |
Sat, 2, 5, 62 ff.: tempore quo iuvenis Parthis horrendus, ab terrarumque situs et flumina dicere et arcis alto demissum genus Aenea, tellure marique magnus erit. Cf. montibus inpositas et barbara regna tuisque | I auspiciis Verg. A. 1, 288 : lulius, a magno demissum nomen lulo. Verg. totum confecta duella per orbem claustraque G. 3, 35 : demissaeque ab love gentis. custodem pacis cohibentia lanum
Highly poetic and in an epic vein is Sai, 2, 1, 13 ff. : neque et formidatam Parthis te principe Romam. enim quivis horrentia pilis agmina nee fracta pereuntis cuspide | Sat, Gallos aut labentis equo describit volnera Parthi. 1, 10, 48 f. is a poetic reference to Lucilius: neque ego I illi detrahere ausim haerentem capiti Sai, 10 ff., aude Caesaris invicti res dicere, multa labo- | cum multa laude coronam. 2, 1, | Several laudatory poetic rum praemia laturus, where observe the satirical note in the touches occur in the epistle to Julius I Florus mouth of Trebatius. Wickham notes that Horace employs invidus (1, 3) ; see above the one upon Augustus, vs. 8. Vs. 25 concerns Julius Florus himself: prima feres hederae victricis of Achilles, I^od, 13, 12 ; and of Juppiter, Od, 3, 27, 73. praemia. in Vs. 12 f. refers to Titus : fidibusne Latinis Thebanos 47 ff., me . . . . civilis .... tulit aestus arma | E^, 2, 2, | aptare modos studet auspice musa; also vs. 10 f., Caesaris Augusti non responsura lacertis. Epp. 1, 3, 8 : bella Pindarici fontis qui non expalluit haustus, fastidire lacus et rivos quia et paces longum diffundit in aevum? Epp, 1, 17, 33 f., res | ausus apertos. Note the fine attingit solium lovis et effect of expaUesco employed transitively. gerere, et captos ostendere civibus hostis, |
Sai. 2, 1, 66 : qui duxit ab oppressa caelestia temptat. | meritum Carthagine nomen. It is not perfectly clear in the following reference whether Horace has in mind Julius Caesar or Augustus. A, P. 63 ff. to arcet, regis Next be considered are passages where a tone of philosophic receptus terra Neptunus classis aquilonibus | sive | earnestness elevates remis vicinas urbis alit et the style into the poetic sphere. opus, sterilisve palus diu aptaque | A strong passage on the sentit aratrum, sen cursum mutavit iniquum frugibus primitive condition of man, containing grave |
much of the thought of Lucretius 5, 803 ff., is Sat, ff. : mortalia facta peribunt, nedum 1, 3, 99 amnis | doctus iter melius | Mark especially vss. 99 ff., sermonum stet honos et gratia vivax. cum prorepserunt primis animalia terris, mutum et | turpe pecus, glandem atque cubilia : Liber pater et cum Castore propter J^. 2, 1, 5ff. Romulus et (
unguibus et pugnis .... ; in recepti, dum pugnabant and vss. 108 ff. : sed ignotis PoUux^ post ingentia facta deorum templa | I I Satires and Epistles of Woraee, 27 M The Poetic Element in the bit nunc vetemm libris, nunc somno, et inertibus horis ducere incertam rapientes more I | perierunt mortibus, iUi quos Venerem | sollicitae iucunda oblivia vitae? Observe the grege taurus. metrical beauty ferarara viribus editior caedebat ut in i | of the last verse, and the felicitous collocation possessor, Epp, 2, 2, of vowels and is the leveler of possessions and Death consonants. Calabris saltibus horrea, quidve | 177 ff.: quid vici prosunt aut Naturally an elevation of style parvis, non exora- accompanies an expression of si metit Orcus grandia cum adiecti Lucani, | filial affection, ScU. 1, 6, 93ff. : nam si natura iuberet a certis | bilis auro? Cf. Od, 2, 18, 34. annis aevum remeare peractum, atque alios flight of years, which | legere ad fastum The event of nature is heralded by the quoscumque parentes optaret sibi | quisque, meis contentus hones- life,^i>p. 2, 2, 55: singula steal in their course the delights of tos fascibus et sellis nollem mihi sumere. pursues to the end, I de nobis anni praedantur euntes. Envy In Epp, 21 f., is 1, 19, Horace again proudly in earnest : libera ff. diram qui con- witness the ca^e of Hercules, Epp, 2, 1, 10 : per vacuum posui vestigia princeps, non ( aliena meo pressi labore subegit, conpent pede. notaque fatali portenta | tudit hydram | Lastly may be noted a few passages in praise of wine. Sat. invidiam supremo fine domari. 1, 4, 89 : condita cum verax phenomena referred to aperit praecordia Liber. Cf. the For an elevated description of natural playful Epp, 1, 19, 3ff.: ut male sanos adscripsit Liber et adhuc sub- | Satyris Empedocles and Stertinius, cf. Epp. 1, 12, 15 «P.: Faunisque poetas, vina fere | dulces oluerunt mane Camenae. quid temperet annum, | limia cures, quae mare conpescant causae, | | laudibus arguitur vini vinosus Homerus: Ennius | ipse pater vagentur et errent, quid premat stellae sponte sua iussaene | numquam nisi potus ad arma prosiluit dicenda. Cf. too Epp. possit rerum | proferat, orbem, quid velit et lunae, quid | obscurum ff. 1, 5, 16 : operta recludit, spes | iubet esse ratas, ad proelia Empedocles an Stertinium deliret acumen. Concordia discors, | trudit inertem, sollicitis | animis onus eximit, addocet artis. ff. | Cf. Verg. G. 2, 475 ff. ; Prop, 4, 5, 25 fecundi calices quem non fecere disertum ? contracta quern appreciated will be adhered to | non simple mode of living once * A in paupertate solutum ? vives protinus, ut te even in prosperity, Epp. 1, 12, 8f., sic | confestim liquidus Fortunae rivus inauret. Epp. 18, 70 f., A word once uttered may never be recalled, 1, fideliter aures, et semel emissum nee retinent patulae conmissa | verbum. PARODY. volat inrevocabile ^ adfigit humo divinae the elegance of ^. 2, 2, 79 : a^ue Mark As indicated in the introduction we naturally find most of this particulam aurae. in the earlier , work of the poet, viz., the Satires. Parody is the the emotional side following are interesting as reflecting hand-maid The of satire, and by its very nature finds its home in our author: the satiric sphere. of . Wherever in antiquity a department of me quamvis Lamiae litera- sympathy o£ Epp. 1, 14, 6ff : Mark the ture clothed itself in an essentially distinctive form and language, fratre do- moratur, fratrem maerentis, rapto de pietas et cura | parody, especially with the quick-witted Greeks, general immediately touch recalls for a moment the lentis insolabiliter. This arose to suit humorous and I frequently ridiculous material to the repetition and expression of Catullus. Note the rhythm and new mold. For such comic adaptation epic and tragedy were manifestly rhvme. the richest field. The ass delighted to disport in the qui conplexus joy of meeting : o In SaL 1, 5, 43, we have the skin of the lion. his Sat, 60 ff, the longing for et gaudia quanta ftierunt! in 2, 6, quandoque lice- >a Sat 2, 6, 67flF. Epp. quando ego te aspiciam ; 1, 14, 34f. ; Epp. 1, 15, 18. beloved country : o rus, :
1 Satires and Epistles of Horace, 29 28 The Poetic Element in (U The following examples indicate that Horace had Homer more No detailed employ- Parody is not a business with Horace. or less in mind. Sai, 1, 5, 51ff. : nunc mihi paucis Sarmenti master is to be | parallel to that of the great Greek ment of it scurrae pugnam Messique Cicirri, musa, velim memores et | quo unbidden. There is no It is not sought, but comes found. patre natus uterque contulerit litis. Messi clamm genus Osci, | enliven the satires | effect. The brief touches which straining for Sarmenti domiua exstat: ab his maioribus orti ad pugnam the natural | genuine ebullitions of innate humor, impress us as venere. Mueller thinks that Horace has here the beginning of reminiscence at richly dowered with literary expression of a mind the Odyssey in mind. play in the freedom of satiric style. The muse is addressed again in Epp, 1, 8, 2 : Musa rogata unmistakable, at times parodic touch is at times broad and The refer, where however the allusion is but playful. with well-known or charac- gubtle and insinuating, now dealing Sat, 2, 5, 20 f., fortem hoc animum tolerare iubebo : et quondam into half-tones of mock teristic epic phraseology, or shading maiora tulit. Cf. Odyss, 20, 18 : rdrXadt Brj, KpaStrj^ teal Kvjnepov suggestive- running in elusive, not to say baffling solemnity ; now dXko woTeTXtfi, Fortem probably translates the epithet rXiy/Aoi/a. or spirit of epic and tragic style. ness of the very breath * In Sai. 2, 1, 60 : o puer, ut sis vitalis metuo,' Horace is and frequently quoted parodies We will first note two humorous doubtless parodying //. 18, 95 : mKvfJLopo^ Bi] fioi, t^/co9, eaaecu, inducere of night. 8ai. 1, 5, 9f., iam nox of epic descriptions orayopevei'i. parabat. Cf. IL 14, 259 ff. terris umbras et caelo diflundere signa I Sat. 1, 7, 9 ff. beautiful metaphors. The goddess Night lends Latin poetry many postquam nihil inter utrumque processit stellis ardentibus Ennius, Vahha A. 339 : hinc Nox convenit (hoc etenim sunt omnes iure molesti circumvolat umbra; 3, »pta. Verg. A. 2, 360: nox atra cava fortes quibus adversum helium incidit. ponto nox incubat quo inter 198: nox hiimida caelum abstulit; 1, 89: Hectora Priamiden, animosum atque inter Achillem ruit oceano nox, interea caelum et | atra ; 2, 250 : vertitur ira fuit capitalis, ut ultima divideret mors, Cf. Ov. Md, 11, involvens umbra magna terramque polumque. non aliam ob causam nisi quod virtus in utroque circumvolat umbra. There are frequent 309 : nox atra cava summa fuit : duo si Discordia vexet inertis parallels in later Latin epic. aut si disparibus bellum incidat, ut the succeedmg Diomedi This parody renders more humorous by contrast cum Lycio Glauco, discedat pigrior, ultro " Duteh picture." lines which Wickham aptly terms a muneribus missis), Bruto praetore, tenente represented as traversmg Nox no less than Sol is frequently ditem Asiam, Rupili et Persi par pugnat uti non in Sat, 100 ff., heavens in her chariot; note the parody 2, 6, the conpositum melius cum Bitho Bacchius. cum ponit uterque Nox medium caeli spatium, | iamque tenebat | /i£Xc£/i7rc7rXo9 Eurip. Ion 1150 : in locuplete domo vestigia. Cf. Horace approaches the ridiculous encounter between Persius and also Verg. A. 5, ?i/7ok «x^/i' hraXKev, Cf. Bk N{^f hcdpwrov | Eupilius Rex as some soul-stirring event. Mark the retarding subvecta tenebat. Tibvl, 2, 1, 721: et Nox atra polum bigis effect of the long parenthesis, with the drop at its close from epic secuntur matris lascivo 87 ty iam Nox iungit equos, currumque | material to the details of a ludicrous wrangle. Some of the nigris emensa f., iam Nox aetherium sidera fulva choro,-~3, 4, 17 expressions suggest well-known Homeric phrases, i. c, adversum laverat amne rotas. See Langen on mundum caeruleo bellum, 8^M)9 ttoXc/lio?, //. ; animosum quadrigis | 4, 281 Achillem, fi€yd$vfju)<:
; Stat. Tkeb. 2, 59. Vol. Fhe. 3, 211 'AxiXXeik ; ultima .... mors, t^Xo? davarou). Note the epic 20: iamque dies aderat Another parodic touch is Sat. 1, 5, verse ending, a monosyllable following a choriambus. Cf. Odyss. «... cum. Satires and Epistles of Horace, 31 30 The Fodic ElevnerU in the
ff. ruit Oceano 2, 6, 20 : Matutine pater sen lane libentius audis, unde . A, 2, 250 : | 5, 294 : opmpei ^ovpavoBev wf Verg. nascetur ridi- homines operum primos vitaeque labores instituunt (sic dis nox. Horace burlesques this use in A. P. 139 : | departs from placitum), tu carminis esto principium. Cf. //. 24, 308. culus mus. For comic effect Horace intentionally | suggestion of Epp. 1, 16, 62 : *Iane pater .... Apollo .... da mihi fallere, the description of II 6, 235, where there is no da iusto sanctoque videri, noctem | peccatis et fraudibus cowardice on the part of Glaucus. More fair would have been obice
nubem.' Miiller notes : wie die Gotter bei Homer selbst ^4pt ical the imputation of avarice and cunning to Diomedes. multoque ve(f>€\ri unerkennbar einherschreiten, auch ihre Schiitzlinge in For further epic touches in this satire cf vs. 28 : solcher Verhiillung invidus. der Gefahr entziehen ; II, 3, 380 f. ; 20, : durus vindemiator et fluenti, and vs. 30 | Kiessling sees 443 f. In Epp. 1, 18, 18: pretium aetas altera sordet, Sat. f., ' e^eXot/it 2, 5, 59 o Laertiade, quidquid dicam aut erit aut non : ff. : euro aelo, 4>l\ov T€Ko culinam Volcano summum properabat lambere ; cf. visus, cum somnia vera: 'in | tectum Verg. Quirinus, post mediam noctem | | A. 2, 684: lambere flamma insanius ac si magnas Graecorum malis comas; Lucret, 5, 396. Mark the silvam non ligna feras | alliteration. inplere catervas.' ironical speech with a Mueller sees in A. P. 421 a possible parody of Verg. A. 9, 26. In SaL 2, 8, 73 f., Balatro tops off his This is to be regarded oonvivatoris uti ducis ingenium res as the very remotest of possibilities. mock heroic phrase : sed | Two passages very well attested as referring to the same poet, adversae nudare solent, oelare secundae. Furius Bibaculus, are Sat. 1, 10, 36 f., turgidus Alpinus A few examples in the form of a prayer may be cited. Sat, iugulat 32 The Poetic Element in the Satires and Epistles of Horojce, 33 Sat, 5, diffingit Rheni luteum caput ; 2, TauT* oCi/ OLKOvaa^ Koi fiaOmv ifiov irdpa, dum Memnona dumque | infantis statuas, seu pingui €v 34 The Podic Element in tfw Satires and Epistles of Horace, 35 coquite horam 40 f., at vos praesentes, austri, Sal. 2, 2, ] and com- obsonia. Note the mock solemnity of the invocation, ELEVATED PASSAGES. pare the familiar coquite. est cnidelior in nos tse Sat. 2, 8, 61 ff., heu, Fortuna, quis | In the course of this investigation I have collected a number inludere rebus humanis. Sat. 2, 5, of elevated citations, some of deus : ut semper gaudes | which shade into the poetic. I sodalis uusquam est? undo mihi tam shall cite a few of these without comment. 101 f., ergo nunc Dama | Sat. 2, 3, 222 f., quern cepit vitrea fama, fortem tamque fidelem ? | hunc circumtonuit of the mother's In Sat. 2, 3, 288 ff., note the elevated setting gaudens Bellona cruentis. luppiter, ingentis qui das prayer as contrasted with its content : Many are found in the genial elegance of the epistles. Epp. 1, quartana reliquerit, ff. dolores . . . . frigida si pueram 7, 10 : quodsi bruma nivis Albanis inlinet agris, ad mare adimisque | | Tiberi stabit. indicis ieiunia nudus in descendet vates tuus et sibi parcet contractusque leget : te, illo mane die quo tu | | dulcis I deum. A playful reference to amice, reviset zephyris, si : cenaeque cum concedes, et hirundine Sat. 2, 6, 65 o noctes | prima. vs. 50 the frugal, but satisfying fare of his country home. Cf. Here, inasmuch as it opens in the form of an epistle, may be cited vs. f cupiens frigidus a rostris manat per compita rumor ; 86 , Sat. 1, 6, 4: olim qui magnis legionibus imperitarent. Cartault superbo. vincere tangentis male singula dente notes : style noble rappellant Lucr^ce et Ennius. varia fastidia cena | miri faciat natura deos id tristis As we should expect, perhaps of this feature is Sat. 1, 5, 102 f., nee siquid | more discernible ends ex alto caeli demittere tecto. Here immediately Horace in the epistle to Augustus (2, 1) than in any other. The entire finis chartaeque introductory the satire with the abrupt: Bnmdisium longae passage of twenty-seven lines miglit be quoted ; also viaequest. vss. 132-138 ; for instance vs. 26 f , annosa volumina vatum | facilemque. dictitet in Sat. 1, 2, 119: namque parabilem amo Venerem Albano Musas monte locutas. Mark the elegant de- Note the nasal assonance and fine caste of a line occurring in a scription of early rural simplicity, with its characteristic Fescennina passage which by reason of its coarseness generally goes without licentia, vss. 139-150. Vss. 156 f., Graecia capta ferum victorem cepit et artis intulit annotation. | metit Africa. Observe the agresti Latio. Note in vss. 190 ff., the rapid and Sat. 2, 3, 87 : frumenti quantum mocking lines verb meto in descriptive poetic touch in personification and in the use of the of the new complexion of the drama : dum fugiunt equitum turmae peditumque catervae mox trahitur manibus re- a transitive sense. ; | procurrunt. Cf. vs. 24 f., solem gum fortuna retortis, esseda festinant, pilenta, petorrita, 21 : in ius acres | naves, Sat. 1, 7, | | stellasque salubris adpellat comites. Sat. captivum portatur ebur, captiva Corinthus. Asiae Brutum adpellat | Vss. 216 ff. : curam redde brevem, si Apolline : ventri indico bellum. munus dignum 1, 5, 8 | frequently heightened by withholding vis conplere libris et vatibus addere calcar, ut studio maiore The ludicrous effect is | the conversational element until the end of sentence or clause. petant Helicona virentem. vive f., imperiosa trahit Proserpina : Sat. 2, 5, 109 sed me | larem gustet In accordance with Horace's dictum, ff., valeque. A good example is Sat. 2, 5, 14 : ante own A. P. 45 we venerabilior lare dives. Sat. 2, 3, 16 f., di te, Damasippe, de- observe many passages where the elegance turns upon the felicitous aeque verum ob consilium donent tonsore. Sat. 1, 3, 87 : cum choice of a word or brief phrase. Such passages are found in | the categories cited. tristes misero venere calendae. most of The following are good examples. Epp. 1, 10, 26 f., non qui Sidonio contendere callidus ostro mamm ) : : S6 The Poetic Ekmerd in the Satires and Epistles of Horace. S7 f., maio- Another translation of the opening nescit Aquinatem potaniia vellera fucum. Soi. 2, 1, 61 lines of the Odyssey occurs an in A. P. 141 f., die mihi, ram nequis amicus \frigore te feriat. Epp, 1, 18, 103 : Musa, virum, captae post moenia 1, 51 cui sit Troiae qui mores hominum multorum vidit et urbis. secretum iter et fallentis semita vitae. ^fyp. 1, : | ff. prout cuique Note a paraphrase in Epp. 1, 7, 41 ff. : condicio dulcis sine pulvere palmae. Sat. 2, 6, 67 : non est aptus equis conviva solutus legibus insanis, Ithace locus, ut neque planis porrectus spatiis nee multae pro- lihidost siccat inaequali^ calices | | I iuvescii laetius. digus herbae : Atride, magis apta tibi tua seu quia capit aeria foHis pocula seu modicis | dona relinquam. Cf. \ 8' propius frondere Tarentum. Odyss. 4, 601 ff. : ittttoi/? ek 'WcbcTjv ovk d^ofiaiy a\\^ aol £^, 1, 16, 11: dicas adductum te validvs avT^ ivdd^e Xelyfta) 11, 15 : nee si ayaXfia* av y^p wehloLo avdaaev^ I €vpdo Troiani belli scriptorem, Maxime Lolli This study would be incomplete without some attention to poetic this dum tu declamas Romae, Praeneste relegi reminiscence, of which there is so much in Horace. Under have qui quid sit pulchrum, quid turpe, quid utile, quid non, head I have made very large use of the editions which than planius ac melius Chrysippo et Crantore dicit. generally given more attention to this phase of the subject cur ita crediderim, nisi quid te distinct, audi. to any other. than As would be expected there is more reminiscence of Homer In the following there is strong suggestion of definite Homeric of any other Greek poet (poet in the sense of this investigation). phraseology. Homeric reminiscence has been treated for the odes and epodes by Sat. 2, 3, 191 : di tibi deut capta classem redducere Troia. A. Paskiewicz,^ and more generally by J. Tolkiehn.^ It is fre- Cf. //. 1, 18 f., v/jlIv fiev Oeol Solev Scofiar* be classed ^OXvfnna eyovrei I quently difficult to say whether a given example should iKirepaai Hpidfioio ttoXlVj iv 8' otKah* extent of UeaOai.^ here or under parody, just as no full conception of the Sat. 2, 3, 195 : gaudeat ut populus Priami Priamusque inhu- Homeric reminiscence in Horace is obtainable if the parodic side mato, is almost a translation of II. carefully — 1, 255, though the subject be ignored. The following examples therefore should be matter differs : ^ icev yrjOrjaai Wpiaiio^ Hpiafioio t€ TralSe:. compared with those cited under Parody. Sat. 1, 2, 32 : inquit sententia dia Catonis. Cf. such well- ff., is a We shall note first actual translations. Epp. 1, 2, 19 known Homeric phrases as /x^w? qui domit»r 'A;)^t\^09 and U TeXefidxoio. free translation of the first five lines of the Odyssey : ScU. 2, 1, 26 f.. Castor gaudet equis, ovo prognatus eodem urbis et mores hominum inspexit la- [ Troiae multorum providus | pugnis. Cf. //. 3, 237 : KdaTopd fflinrdhafiov koX Truf ayadov dum sibi, dum sociis reditum parat, aspera tumque per aequor, | TloXvhevKea. multa pertulit, adversis rerum immersabilis undis. I ' See Tolkiehn, 1. c, p. 47, note 1. * De Horaiio Hofneri ImUatorej Lemberg, 1888. ' Mmer und die rommhe Pome^ ^eip^?' ^^• : 38 The Podie Element in the Satires and Epistles of Horace, 39 meli- ita Troiae me gessi, certans semper With respect to the Odyssey we will cite first from SaJt, 2, 5, Sat, 2, 5, 18 f., liaud | it probable that we which draws largely from the Neicvta.* oribus. Wickham, following Palmer, thinks Kpe^aoa,,v '«/>* echo. Cf. IL 21, 486 : SaL 2, 5, 1 f., Hoc quoque, Tiresia, praeter narrata petenti here have an Homeric | responde. Cf. Odyss. 11, 140 : aW dye /jlol roBe elwe fcal arpe- volat inrevocabile verbum. K^ax: KardXe^ov. Verse 2 f. has in mind the loss of ships and Epp, 1, 18, 71 : et semel emissum cp/co? oSoWcai/. Cf. also A. companions, and the state of affairs at home; see Odyss. 11, 112, Cf. IL 4, 350 : wolop ae hro^ (f>vy€P reverti. and compare vs. 6 : nudus inopsque. Dolosus of vs. 3 suggests P. 390 : nescit vox missa doceri iratus Grais quantum nocuisset the standing epithets ttoXv/jltix^po^) iroXvfnjri^, woiKCXoixrjrrfiy etc. Epp. 2, 2, 41 f., atque | aaSc, 'Axaiow Vs. 4 f., non satis est Ithacam revehi patriosque penatis aspi- 'M Achilles. Cf. IL 1, 1 ff., MP^P ^ W^ | cere? Cf. Odyss, 58 f., i€fi€vo<: koX airoOpdxTKOvra aXye' €0rjK€, 1, Kawvov Achillem, inpiger, poTJaat yairjf; Oavieiv Ifieiperai. si forte reponis | ^9 A. P. 120 ff. : honoratum I the trans- iura neget sibi nata. Note Epp. 1, 2, 25 : turpis et excors, is cited by Lambinus as an iracundus, inexorabilis acer | cf. ayav yXyKi^Ovfia: av^p Sat. 40 : septimus octavo propior iam fugerit i| For iramndus, acer see IL 20, 467 f., ov ydp n 2, 6, annus. Cf. recalls the aXXh fidX' ifip^fiack. Impiger Odyss. 2, 89 : rjBrj yhp TpiTOv iarlv eT09, rdxa B* elat, Teraprov, ^v ovB' ayav6 i! rh fikv itXmIov Owing to its subject find in words of Achilles himself in IL 1, 165 f., aXXa we Epp, 1, 2 much mention of Bi^ova\ For in^orabiUs see Homeric themes taken alike from the Iliad and Odyssey. In vss. ! woXvdifco^ TToX^fJLOio ^V"^ \ x^^^P^ I \<\ 'I iura neget sibi nata suggest IL 1, 295 f., 9 we have a reference to Antenor's effort to close the war by the t II. 11, 636. The words iwirdXXeo, 7^ mentary of Horace upon IL 362 : avnKpis B^ aTrcw^iy/x-t, yvvauca iyo) 7' iri aoi weia-eadai otm. 7, cor? vitio tibi cum tumidum est fikp ovK a7roBd>aa). With vs. 20 : latumque per aequor, cf. IL 2, Sat, 2, 3, 213 : et purum est Cf. IL 646 : 159: €7r' evpea vtara 6aXdaar)<;. Odyss. 313. Orelli regards this verse as an Homeric echo. 9, 4, With vs. 27: fruges consumere nati, cf. IL 6, 142 : ei Be rk ia-ai ffporav, at aXXd fjkoi oiBdvcTai KpaBirj x^^^' Achille secundus. Cf. 17. 2, 768 apovprj^ KapTTov eBovaLv. Sat. 2, 3, 193 : Aiax, heros ab AtV 'Kx^Xev^ In his reference to Circe, vs. 24 : sub domina meretrice fiiisset f., avBpSiv a5 fi^' apiaro^; e^p TeXapAvm | 5f)' turpis et excors, Horace departs from Odyss, 10, 240 : avrap i/ow fi^viev • o yhp TToXif tf>dpTaro<; rjev. vitiis tam cernis acutuni ^v €/A7r€8o9, G)9 TO irdpo^ Trep. Other references are to Nestor,* Sat. 1, 3, 26 f., cur in amicorum | IL 674 f., «9 vs. 11 f. ; to Ulysses,^ vs. 19 ff. ; to the Sirens,* vs. ; to quam aut aquila aut serpens Epidaurius? Cf. 17, 23 Alci- 7r€Ter)v&v. * 4>aiTiv o^vrarov BipKeaBai vTTOvpavUov nous and the suitors of Penelope, vs. 28 ff. T'at€T coeperunt : cruor in fossam confusus, ut inde manis elicerent Homeric epithet BovpixXuro^. | KariBtov. Cf. IL 6, 207 : Bv Ovp^v animas responsa daturas. Cf. the Odyss. 11, 35 ff. : t^ Bk firjTia Epp. 1, 2, 39 : est animum. ipse suum cor edens. Xa^oiv a'TreBeipordfiTja-a €9 jSoOpov, pee B* alfia /ceXai,v€ » See Tolkiehn, 1. c, 140 f. *Il. 247flP. 11. 113 ff. in Eoman literature see Diehl p. 1, ; 1, Interesting is the compariaon of these epithets ; » * Odyss. 1, 2 flf. * Odyss. 39 ff., 166 ff. Homer are collected in Roscher's 12, and ThetmirvM, s. v. Achilles. Those from in the ^ Odyss. 8, 248 flf. Lesdcon. : , Satires and EpiaUes of Horace. 41 40 The Podic Element in ih§ Touaiv, 5t9> ttoXu? apyvpS^ iariv : \ xal 'xpwro^ koX e/>e^€U9 vckwop KarareOvrtwrav. Vs. 41 7179 7rvpo hrundfieaOa B* ytw} wcS iror axnov non est cui rerum suppetit y^evBo^i e? ttoTup Epp. 1, 12, 4 ff. : pauper enim Xojceiv, pedibusque tuis, nil divitiae usus. si ventri bene, si lateri est | I variously cited In Epp. 1, 18, 41 ff. Horace has evidently the Antiope of Euri- poterunt regales addere mains. Cf a fragment pides in mind ; see ; ttXoi^ Nauck 184 and especially 188. Solon 24 : Vt6v rot from Theognis and Solon » see Bergk, >One of the best, the reminiscence of Eurip. Alkest. 784 ff. in /Slit 2, 6, 93flf., vit. Sol., c. 2. 1 eyidence favors Solon ; see Plut has The been cited under parody ; see p. 32. : Satires and Epistles 42 The Podh Element in the of Horace, 43 cum parvis. Cf. A few small phrases are suggestive of Theocritus, f., 81 metit Orcus grandia though not Epp. 2, 2, 178 | S'%t ^^ov OeplK^t^v convincing. Eurip. Hypsipyle, Nauck 757 : avayKalt^ Epp, 2, 2, 51 f., paupertas inpulit, audax ut versus facerem. &aT€ KOfyrrifAov araxvp. ac\ow11. Bacch. 492 Cf. Theoc. 21, 1 : a irevCa fiova ra^ r^xvaf; iyeipei. • of Eurip. The thought, .%). 1, 16, 73 ff., is a paraphrase however, is common enough; see Plaut. Stich. 178. « Pentheu, Sat, 1, 1, 4: gravis annis, recalls Theoc. 24, 100: TeipeaCaii perferre patique rector Thebarum, quid me woXKoiai fiapvf; wep ia}v ipiavToU, * * nempe pecus, rem, indignum coges ? ' adimam bona.' Sat, 1, 7, 26 : invisum agricolis sidus. Cf. Theoc. 25, 168 : argentum. tollas licet' ^inmaniciset lectos, KUKov ripa^ aypoiayraK, Sat, 2, 3, 135 : malis furiis. Cf. Theoc. saevo te sub custode tenebo.' compedibus 2, 136 : KaKaU fiavuii^. solvet.' * deus, simul atque volam, me ipse Sat, 1, 4, 89 : condita cum verax aperit praecordia Liber. Cf. Theoc. 29, 1 : OI1/09, & (f){\e iral, Xeyerai Kal aXddea, Cf. • to Betvov ipycuTei; AI. et4>' &n iraOelv Bel t( fie aSev. Alcaeus, frag. 53 (Bergk), olvo^ yctp avOpamouri huhnpov, Theog. HE. irp&TOV fih afipov fioarpvxov refiSi • 500 : avBp6<: S*oho^ eBei^e voov. • Tp&fxo AI. lepo^ o irUKafio^ t^ Oe^ S'aMv Many examples are cited by Fritzsche, who, however, being the TIE. hrena Bvptrov rovhe wapdZo^i ix xepolv, editor of both authors is inclined to attach too much importance • rdvhe Aiovvaov (ffopoi, AI. avTik ft' aaLpov to parallels. IIE. eipKraUrl r'ivBov a&fia aov (f>v\d^ofAev. Sat, 1, 10, 33 : post mediam noctem visus, somnia vera. outo9, ^rav eyo) 6i\(0, cum AI. Xvaei fi 6 halp^v Cf. Moschus 1, 2f., WKTo^; ore TphaTov Xd^o^ XaraTou, eyyvOi quibus hunc lenire dolo- f., sunt verba et voces, B^rjdyij eirre Kal arpeKewv Troifiaiverai eOvo^ oveipav. Epp. 1, 1, 34 I deponere partem. Cf. Eurip.^ magnam morbi In Sat, 1, 2, 105 ff., Horace employs Callimachus Epig. 31 : rem I possis et deTucnfipioi • C^i*f¥ites olBcy T€t B^iv fJLi Satires and Epistles of Horace. 45 44 The Poetic Element in the alia res voce notare? Cf. also vs. 1058: pro vario sensu varia res voce notaret ? Vs. 105: oppida coeperunt munire. Cf. Lucret. 1108 : condere parva decent. Orelli compares Callim. J^. 1, 7, 44 : parvum coeperunt urbis arcemque locare. filKKa hihovci 0€oL Epig., frag. 179 : alel rot? hUkol^ Sat, 1, 1, 117 ff.: inde fit, ut raro, qui se clear cases of remi- vixisse beatum Let us turn to the Latin poets. Here | dicat et exacto contentus tempore vita cedat uti conviva | satur, niscence are not so numerous. reperire queamus. Cf. Lucret. 938 f., 622, we have 3, cur uon ut plenus vitae According to Porphyrio, and Servius on Verg. 7, conviva recedis, aequo animoque capis securam, Ennius (Vahlen A. 266). | stulte, quietem? Sat, 4, 60 f., a citation from in 1, Cf. also Lucret. 31. 3, 959 f. the other reminiscence cited under parody, p. Compare Sat. 1, 8, 46 : displosa vesica, is a possible reminiscence luppiter, ut pereat positum of 42 f., o pater et rex | Sat. 2, 1, Lucret. 6, 130 : cum plena animae vesicula parva saepe ita det Horace was probably | robigine telum. Foremost in the mind of torvum sonitum displosa omne genus pereat. The repente. See the notes of Wickham and 48 : luppiter, ut Chalybon Catul. 66, Kiessling. Callimachus Epig. Catullus passage may be a reminiscence of Sat, 1, 6, 4: magnis legionibus imperitarent. Cf. Lucret. ek a7r6\oLro 7«/o9. Of Theog. 3, frag. 35 c (Schneider) : Xa\vfia>v 1028: magnis qui gentibus imperitarunt ; a characteristic Lucre- KvyjteXiBecov Zeu? oXiaeie 7^09. 894 : m ^ tian rhythm. quidquid chartis amicitur ineptis. 1, 270 : et piper et Epp. 2, Sat. 1, 1, 13 : cetera de genere hoc. Orelli notes : "Transitus annales Paduam morientur ad Cf. Catul. 95, 7 f., at Volusi est Lucretianus." Cf. Lucret. 4, 590; 4, 462; tunicas. 5, 37; 5, 164. \i ipsam et laxas soombris saepe dabunt I Sat. 1, 9, 24 : membra movere moUius. Cf. Lucret. in a strong passage to repro- 4, 789 In Sat. 1, 3, 99 ff., Horace essays 980 : mollia membra moventis. few extracts may be duce the philosophy of Lucretius 5, 795 ff., a Sat, 2, 2, 67 : dum munia didit; a Lucretian word. See compared. Lucret. 2, 1136, 3, 245; Cf. Lucret., vs. 3, 707; 4, 240; 629; 955. Vs. 100: glandem atque cubilia propter. corpora quercus plerumque. 939 f., glandiferas inter curabant | horridior glandem ructante Cf. esp. Juvenal 6, 10: et saepe primis animalia terris. Cf. Lucret., Vs. 99 : cum prorepserunt tractabunt more ferarum. With cubilia, vs. 932 : volgivago vitam couch is described the rude vs. 100, cf. Lucret., vs. 970, where primitive man. of leaves, the only resting place of ita porro dein fustibus, atque | Vss. 101 f., unguibus et pugnis, f., arma antiqua manus pugnabant armis. Cf. Lucret, vs. 1283 fragmma et lapides et item silvarum ungues dent^sque fuerunt | « rami. . notarent, voces sensusque | Vss. 103 f., donee verba, quibus ergo si varii sensus Domma invenere. Cf. Lucret., vss. 1087 ff. : varias emittere voces, muta tamen cum smt, | animalia cogunt, | turn potuisse dissimaes aUa a^ue quanto mortalis magis aecumst | Bibliography. 47 Special Treatises.^ BIBLIOGRAPHY. Aue, A. De Q. Horatii Flacci ingenio poetico moribusque ingenuis. Vindobonae, 1870. Backer. Die Metaphern in den Satiren des Horaz. Pro- editionB and scholia employed: The following were the principal gramm. Stralsund, 1883. Commentaiii in Q. Beste, G. De generis dicendi inter Horatii Hauthal, F. Acronis et Porphyrionis carraina sermo- 1866. nesque discrimine. Monasterii, 1876. Horatium Flaccum, vol. 2. Berlin, . Flacci Opera Omnia. Leip- Brand, E. Intersitne aliquid inter Q. Horatii Flacci satiras Keller and Holder. Quinti Horati et eiusdem epistolas, et quid id sit, quaeritur. Czernowitz, 1874. zig, 1869. Berlin, 1869. Buys. Horaz und die Natur : ein Beitrag zur Untersuchung Bentley, R. Third Edition. Horatius Flaccus Sermonen. iiber das Natnrgefiihl der Alten. Programm. Bonn, 1872. Fritzsche, A. T. H. Des Q. Cartault, A. fitude sur les Satires d'Horace. University de Leipzig, 1875. Horaz. Leipzig, 1880. Paris. Biblioth^que de la Faculty des Lettres. ix (1899). Keller, O. Epilegomena zu Hanna, 1881 Episteln. Berlin, 1883. F. Ueber den apologetischen Charakter der horaz- Schutz, H. Satiren. Berlin, ; ischen Satiren. Programm. Nikolsburg, 1878. Briefe. Berlin, 1889. Kiessling, A. Q. Horatius Flaccus' Hawrlaut, F. Horaz als Opera Omnia, vol. ii. Freund der Natur nach seinen E. C. Quinti Horati Flacci Wickham, Gedichten. Landskron, 1895-96. Oxford, 1891. Hendrickson, G. L. Are the Letters of Horace Satires ? vol. ii. Berlin, 1892. A. Orelli-Mewes. Q. Horatius Flaccus, J. P. XVIII (1897), p. 313 ff. des Horaz. I Theil: Satiren. Mueller, L. Satiren und Episteln Reisacker, A. J. Horaz in seinem Wien, 1893. Verhaltniss zu Lucrez und Wien, 1891. II Theil : Episteln. in seiner Kulturgeschichtlichen Bedeutung. Breslau, 1873. in Q. Horatium Flaccum. Keller and Holder. Scholia Antiqua Tolkiehn, J. Homer und die romische Poesie. Leipzig, 1900. Innsbruck, 1894. Waltz, A. Des Variations de la Langue et de la M^trique Flaccus' Satiren. Zweite Auflage. Kiessling, A. Q. Horatius d'Horace dans ses Diff^rents Ouvrages. Paris, 1881. Berlin, 1895. * Nothing can be cited of direct bearing upon the subject except a few pages in General Works. the article of Cartault. In the subjoined treatises, however, several related themes are discussed. romischen Dichtung. Stuttgart, Ribbeck, O. Geschichte der 1889. romischen Litteratur. Zweite Schanz, M. Geschichte der Anflage. Miinchen, 1899. 1892. the Elegiac Poets. Oxford, Sellar, W. Y. Horace and Literature. Translation of Geo. Teuffll. History of Roman C. W. Warr. London, 1891. 46 Jm 1 A L^ • Philip Howard Edwards was born in Hancock, Maryland, February 23, 1878. His preliminary education was received in the public schools of Martinsburg, W. Va., and of Baltimore City. After spending two years in the Baltimore City College, he matriculated at St. John's College, Annapolis, in 1894, where he was graduated with the degree of B. A. in 1898 and of M. A. in 1901. For one year he was engaged in teaching Latin and German at the latter institution. In the fall of 1899 he began graduate study at Johns Hopkins University, choosing Latin as his prin- cipal and Greek and Sanskrit as his subordinate subjects. He was appointed University Scholar in 1900, and Fellow in Latin for the years 1901-1903. He has attended the lectures of Professors K. F. Smith, Gildersleeve, Bloomfield, Wilson, Miller, and Dr. Sutphen, to all of whom he would make grateful acknowledgment, especially to Professor Kirby F. Smith, who by his advice and encouragement, and the inspiration of his instruction and personality, lias imposed a lasting sense of gratitude. jmi !>l i—jji;™^^ ¥