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The Poetic Element in the Satires 
 and Epistles of Horace 
 
 PART I 
 
 BY 
 
 PHILIP HOWARD EDWARDS 
 
 ^ SDi08(crtatiou 
 
 SUBMITTED TO THE BOARD OF UNIVERSITY STUDIES OF THE JOHXS HOPKINS 
 
 UNI\T;RSITY in conformity with the REQUIREMENTS FOB 
 
 THE DEGREE OF DOCTOR OF PHILOSOPHY 
 
 1905 
 
 5. 5K. Ifutst Company 
 
 BALTIMORE 
 
CONTENTS. 
 
 PAGE. 
 
 Introduction 5-17 
 
 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 strengtlien 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.— Thcognis.— Pindar. — Sophocles. — Euripides. 
 — Theocritus. — Callimachus. — Ennius. — Catullus. — Lucretius. 
 
 iij;j4h^ 
 
^^ 
 
 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 effect 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 attention 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 jjer 
 humum repens, to give the matter the benefit of distinct treatment. 
 Lucian I^Iuellcr, Introduction, p. xiii, is an exception sufficiently 
 notable to be quoted: Zwar iibertrcibt Horaz, wenn er {Sat. 1, 
 
6 The Poetic Element in the 
 
 56 fgdd.) behauptet, dass ohne das Metrum seine wie des Lucilius 
 Dichtuuffen wie Prosa erscheiuen wiirden. Es findeu sich bei 
 ihm selbst und noch ofter, soweit man nach den Fragmenten 
 urtheilen kann, bei seinem Vorbilde Verse hSheren Schwunges, 
 wie ja auch die Erscheiuungen des Lebens sich nieht ausschliess- 
 lich inuerhalb hausbackener Prosa und niicbterner Alltiiglichkeit 
 bewegen. These are the most relevant words I have been able to 
 
 find in the editions. 
 
 Next in importance seems the observation of Nitsch, Introduc- 
 tion to the Satires, vol. 2, p. 332. Die Sprache, welche Horaz in 
 diesen Gedichten redet, nahert sich allerdings der Prosa, wenn 
 wir es ihm schon darum nicht auf sein Wort glauben diirfen, dasz 
 er um dieser Gedichte willen, alien Anspruch auf den Rang eiues 
 Dichters entsagt. 
 
 Kiessling, Introduction to the Satires, p. xvii, in discussing Sat. 
 1, 4, 39 ff., the most significant passage in the sermones, expresses 
 the prevalent view, merging quite indiscriminately the departments 
 of satire and comedy as the twin objects of the author's criticism. 
 His conclusions may be taken as representative of contemporary 
 opinion ; viz., that there is little or nothing of the poetic in the 
 satires of Horace. 
 
 The above must serve as the most detailed remarks to be foimd 
 in the authorities upon a side of Horatian style certainly deserv- 
 ing more careful investigation. 
 
 First, then, let us examine the passages referred to above. The 
 most important is Sat. 1, 4, 38 fP. : 
 
 agedum, pauca accipe contra, 
 primum ego me illorum, dederim quibus esse poetis, 
 excerpam uumero : ncque enim concludere versum 40 
 
 dixeris esse satis ; neque siqui scribat uti nos 
 sermoni propiora, putes hunc esse poetam. 
 ingenium cui sit, cui mens divinior atque os 
 magna sonaturum, des nominis huius honorem. 
 idcirco quidam comoedia necne poema 45 
 
 esset quaesivere, quod acer spiritus ac vis 
 nee verbis nee rebus inest, nisi quod pede certo 
 difFert sermoni, sermo merus. 
 
Satires and Epistles of Horace. 7 
 
 Compare vs. 41, where Horace refers to his own composition, 
 with vss. 45 ff., which concern comedy. The former is a guarded 
 statement, the latter is a free and unrestrained expression of 
 opinion, where the directness of the language is as evident as the 
 conviction of the author. I do not wish to press this point too 
 fa^, but in siqui scrihat uti nos sermoni propiora there is to my 
 mind a strong suggestion of modest understatement. The words 
 nisi quod pede certo differt sermoni, sermo merus are occasionally 
 cited by the editors as if they had direct reference to the satires ; 
 e. g., Wickham, on Sat. 2, 6, 17. I believe such inference is 
 entirely unwarranted. 
 
 But Horace has something more to say. After citing an 
 example from comedy he continues, vs. 56 if. : 
 
 his, ego quae nunc, 
 olim quae scripsit Lucilius, eripias si 
 tempore certa modosque et quod prius ordine verbumst 
 posterius facias, praeponens ultima primis, 
 non, ut si solvas ' postquam Discordia taetra 
 Belli ferratos postis portasque refregit,' 
 iuvenias etiam disiecti membra poetae. 
 
 In these lines we have that to which the whole passage has been 
 tending: viz., a return to the criticism of Lucilius which he had 
 begun in the opening of the satire. There is reason for believing 
 that Horace has here employed the well-known device of includ- 
 ing himself in a criticism whose arraignment is principally intended 
 for another. It is well known how far-reaching was the influence 
 of Lucilius, not only in his own time, but through the first century 
 A. D. It is probable, therefore, that as early as this fourth satire 
 Horace foresaw that his severe handling of Lucilius would not go 
 unchallenged, though he was perhaps not prepared for the storm 
 of protest which required his lengthy defense in the tenth satire. 
 In this connection it is interesting to mark the striking difter- 
 ence of tone in the first satire of the second book, where the 
 early discussion is throughout ignored, and where every reference 
 to Lucilius is laudatory; cf. vss. 16 f., vss. 28 f., and a longer 
 
8 The Poetic Element in the 
 
 one, vss. 62-75. We cannot bnt feel that in this later reference 
 to Lucilius we observe the truer and more general attitude of 
 Horace toward the man who was in so many senses his model. 
 But we must not forget that while Lucilius was the closest model 
 he was also the closest rival in the department of satire, and that 
 Horace, though disinclined to contest the honors of a great pioneer 
 in a comparatively new branch of literature,^ justly contends for 
 the limitations which that unfamiliarity entailed. 
 
 However that may be, there is a probable concession to the 
 popularity of Lucilius in whatever criticism appears in Horace. 
 In the fourth satire that concession consists in including himself 
 in the same category as Lucilius, and this fact is not without its 
 bearing upon vss. 41 ff., and 56 if. 
 
 Let us now consider another passage. Sat. 2, 6, 17 : 
 
 ergo ubi me in montis et in arcem ex urbe removi, 
 quid prius inlustrem saturis musaque pedestri ? 
 
 These lines are in setting and expression playful. Here the 
 proportion of modest understatement must carefully be weighed, 
 asalsoin^j3p. 2, 1, 250ff.: 
 
 nee sermones ego mallem 
 repentis per humum quam res conponere gestas, 
 terrarumque situs et flumina dicere et arcis 
 montibus inpositas et barbara regna tuisque 
 
 auspiciis totum confecta duella per orbem 
 
 claustraque custodem pacis cohibentia lauum 
 
 et formidatum Parthis te principe Romam, 
 
 si quantum cuperem possem quoque ; sed neque parvum 
 
 carmen maiestas recipit tua nee mens audet 
 
 rem temptare pudor quam vires ferre recusent. 
 
 sedulitas autem stulte quem diligit urguet, 
 
 praecipue cum se numeris commendat et arte. 
 
 The apologetic tone is frequent in Horace and is found in 
 
 »&«. 1, 10, 48f., 
 
 neque ego illi detraliere ausim 
 
 haerentem capiti cum multa laude coronam. 
 
Satir&i and Epistles of Horace. • 9 
 
 every departnient of his work. The .subjects he here disclaims as 
 beyond the flight of his muse correspond remarkably with those 
 treated in certain of his odes written in honor of royalty, espe- 
 cially those of the fourth book; see Odes 4, 5, 14 and 15. 
 Compare especially Sat. 2, 1, 10 if., where Trebatius advises 
 Horace to do the very thing he here disclaims ; that is, to write 
 epic. Horace refuses on the same ground, his inability, adding 
 two or three lines of genuine epic to prove his assertion ; cf. vss. 
 13 if. In the same vein cf. Od. 1, G, 5 fP., Od. 4, 2, 27 fP., and 
 Od. 4, 15, 1 if., wdiere again we find the accompanying epic 
 touches. Cf. also Od. 1, 19, 10 ; Od. 2, 12, 1 ff. 
 
 In this connection A. P. 304 ff. is an interesting passage, and 
 something of a stumbling-block judging from the variety of 
 
 interpretations : 
 
 ergo fungar vice cotis, acutum 
 
 reddere quae ferrum valet, exsors ipsa secandi : 
 
 munus et officium, nil scribens ipse, docebo, 
 
 unde parentur opes, quid alat formetque poetam, 
 
 quid deceat, quid non, quo virtus, quo ferat error. 
 
 • 
 
 Miiller quite arbitrarily understands nil scribens of tragedy, on 
 the ground that the honored lyrist could not exclude himself from 
 the general category of poets. Orelli extends the scope of the 
 words and interprets nidlum poema epicum aid dramaticum, sed 
 sermones dumtaxat et lyrica quaedam, adding inest tamen festiva 
 ironia, qua py'opria carmina elevat. This tone of festiva ironia is 
 self-evident, uotwathstanding the fact that this passage marks the 
 transition to the most serious discussion of the poem, and that 
 the remainder of the passage itself outlines that discussion. I 
 can see, however, no compelling reason for supposing that the 
 words nil scribens are to be understood solely of tragic or epic 
 style. In consideration of the well-known habit of the poet as 
 illustrated in the examples cited above, it would be better to see 
 in these words a reference to poetry in general. If we so inter- 
 pret, it is interesting to compare the three places in which Horace 
 characterizes the style of the satires, in as much as this passage 
 was written several years after the publication of the first three 
 books of the odes, which none will deny to be poetic. 
 
10 The Poetic Element in the 
 
 Now let us turn from these passages to the consideration of 
 another question. Horace shows an aifectionate preference for 
 the style of coraposition he adopted in the satires and epistles. 
 The very unrestraint which had always been a characteristic 
 feature of this branch of literature would in itself appeal force- 
 fully to such a temperament. Assuredly, therefore, there is nothing 
 illogical in the supposition that undoubted poetic genius coupled 
 with such inviting departmental freedom might give rise, nay, 
 under favoring conditions would be almost certain to give rise, to 
 elevated and poetic types of thought and expression. The collec- 
 tion and examination of examples to be cited later attest that 
 these types are particularly to be expected under certain motives 
 and in connection with certain objects which exerted a peculiarly 
 strong and lasting influence upon the poet's life. In these passages 
 are reflected his love of nature, the relations of friendship and 
 intimacy he bore to powerful men of his day, the influence of 
 fellow poets both personal and literary, social cultivation, his love 
 of the country frequently intensified by the pride of ownership. 
 Often, too, the warmth of philosophic discussion elevates the style 
 into the sphere of poetry. 
 
 To deny the great mass of the conversational element apparent 
 in the usage of every part of speech in the sermones would be 
 futile.^ 
 
 This phase of the subject has received much attention in the 
 editions. 
 
 As regards meter, Ribbeck, Geschichte der romischen Dichtung, 
 II, p. 160, observes, "With great but concealed art every eifort is 
 made to give the verse the stamp of the prose style, without, how- 
 ever, transgressing the laws of euphony and rhythm. In the first 
 place, all those metrical forms which are peculiar to poetry are 
 avoided if possible. Such caesurae, therefore, are proportionately 
 more employed which strike the ear with the natural (Trochaic) 
 cadence of the Latin language. Frequent spondees render the 
 
 ^ An interesting collection and classification of examples is found in the treatise 
 of F. Barta, Sprachliche Studien zu den Satiren def: Horaz, ii Theil. Program, Linz, 
 1881. See for instance bis chapters entitled Umgangsformdn, p. 23 ; Syncopierie 
 Fai-men, p. 29. 
 
Satires and Epistles of Horace. 11 
 
 expression more unrestrained, give it a cliaracter for careless ease, 
 and everywhere the most elegant care is manifest for effecting the 
 artistic agreement and unity of contents and cadence. Elision 
 of vowels, shunning evidence of scrupulous choice, is employed 
 abundantly, as in the spoken language." Sellar, Horace and the 
 Elegiac Poets, p. 51, speaks as follows: "Had Horace lived in 
 recent times he would probably have been as accomplished a 
 writer of prose as of verse. The subjects of his satires are 
 essentially prosaic. They deal with the material of daily life in 
 a style as nearly as possible approaching to the language of 
 familiar conversation." ^ 
 
 The above are brief representative views of a well-nigh inex- 
 haustible mass of criticism bearing upon the satires, all emphasizing 
 the view that their subject matter is essentially prosaic, their 
 treatment correspondingly unimaginative ; in fact, only modified 
 by the necessary laws of versification. 
 
 Now it is no part of my intention to combat the underlying 
 truth of current criticism upon this subject ; viz., that Horace has 
 made large use of the conversational sphere. This goes without 
 saying. But one or two things must be borne in mind ; first, in 
 accordance with the line of argument above advanced, the passages 
 professing to establish Horace's own opinion must not be called 
 upon to extend and distort this characteristic of style until it 
 become a fabric completely obscuring the real nature of his art. 
 For these passages considered in the proper light and in their 
 proper setting strongly suggest that Horace is conscious, and feels 
 the restraint of that consciousness, that the sermoni propiora are 
 not always remote from other spheres, and that pedestris and per 
 Jiumum repens are not full and satisfactory epithets for his muse. 
 
 I am aware that this interpretation of the references cited from 
 the sermones is not in accord with the persistent tradition regard- 
 ing them. But it should be remembered that literary criticism 
 need not be true to be enduring. Alexander Pope furnishes a 
 striking example in English poetry. The revolution of the 
 Romanticists is the verdict handed down and accepted to the 
 
 » Cf. Wickham, vol. ii, p. 7. 
 
12 The Poetic Element in the 
 
 present day. It would appear that this reactionary movement 
 in setting the mold for modern poetic art has given, if it has not 
 established for all time, the form which criticism must take in 
 respect to Pope ; viz., certain stereotyped comparisons, first with 
 his great predecessor Dryden, later with the foremost champions 
 of the Romantic School. The result was as predestined as the 
 judgment of Paris. An age of new and reactionaiy ideals has 
 from its own point of view passed a judgment which, if reduced 
 to merest outline, would read "Pope was not Dryden," or, "Pope 
 was not Wordsworth." It is significant that even to the present 
 day Pope is not discussed upon his owu merits. Plis unique 
 position in literature could of course at no time be overlooked, but 
 the mass of adverse comparison has made this concession an ele- 
 ment of "faint praise" in the final effect. A curious phase in 
 this tradition is the persistency of the established criticism as 
 compared with the lack of first hand acquaintance with the 
 author. The mind of the writer has in this investigation con- 
 stantly reverted to Pope, with whom in style Horace has numerous 
 points in common. The persistent application of the file is a 
 cardinal point in both creeds, and the resulting product, the aurea 
 mediocritas, has enriched both languages with a large number of 
 expressions which remain indelibly fixed upon the memory. 
 Striking similarity in parodic treatment occurs, and their styles 
 reveal other points in common which cannot now be discussed. 
 
 Allusion has already beeu made to the exceptional adaptability 
 and congeniality of satire in its traditional unrestraint as a vehicle 
 of expression for our poet's genius. This characteristic of the 
 department manifestly stretches back to the remotest outline of 
 literary monument until the whole subject is shrouded in the 
 uncertainty and conjecture which surround its origin. This tradi- 
 tional unrestraint is reflected not only in the detailed treatment of 
 Horace's style, but in his selection of topics and situations ; 
 witness the variety of subjects treated in the satires, and within 
 the ransre of such selections observe with what freedom he flits 
 from point to point, often careless of strict logical sequence, the 
 embodiment of his own metaphor circumvolitas agiUs thyma. 
 
 Now, however sure we may feel that the conversational element 
 
Satires and Epidlcs of Horace. 13 
 
 went hand in hand with the department from the very beginning, 
 thongh wc should even feel assured that this association antedates 
 all our existing literary monuments, I am firmly convinced, view- 
 ing satire in its development as a department of literature, that 
 the conversational is not to be regarded as the necessary, in the 
 absolute use of that term, but rather as the most natural reflec- 
 tion of that which is vitally departmental; viz., unrestraint. 
 Conceding, therefore, whatever we may be individually inclined 
 to attribute to the influence of tradition, the retention of the dia- 
 logue and conversational element in Horace, as elsewhere, argues 
 quite as much its inherent fitness for a definite literary role. 
 Chat is the personification of literary unrestraint. Chat, there- 
 fore, with its outgrowths, dialogue and easy discourse, naturally 
 plays an important part in the sermones. 
 
 The fact that these same elements are found in like degree in 
 comedy, and that in both satire and comedy they probably spring 
 from a like origin may have led to the association of the two 
 departments in the mind of Horace, as seen in the fourth satire. 
 However, Horace could no more have ignored the real poetry to 
 be found in the old comedy than we can ignore the glimpses of 
 the same in the satires and epistles. For just as conversation, 
 especially of the educated class, being the faithful mirror of fleeting 
 impressions, is broad in scope, including it may be the imagina- 
 tive and poetic, so departments of literature in which the vital 
 characteristic is unrestraint do no violence to their traditions by 
 marshaling their materials from well-nigh the whole range of 
 literary art. 
 
 The breadth of range of the old Attic comedy is an appreciable 
 influence in the sermones of Horace,^ and as real poetry is an 
 unmistakable element in the style of Aristophanes, so in the cita- 
 tion of examples from the sermones we are to observe the important 
 role it plays in Roman Satire. As a matter of fiict, Horace him- 
 self outlines the composite nature of his art, and it is strange 
 indeed that, in the interpretation of the satires, so little con- 
 sideration has been given to this passage {Sat. 1, 10, 9 6:): 
 
 1 Sat. 1, 10, 16 f. ; 1, 4, 1 ff. 
 
14 The Poetic Element in the 
 
 est brevitate opus, lit currat sententia ueii se 
 iiipediat verbis lassas onerautibus auris, 
 et sermone opus est modo tristi, saepe iocoso, 
 defeudente vicem modo rhetoris, atque poetae, 
 interdum urbani, parceutis viribus atque 
 exteuuantis eas consulto. 
 
 There are those who regard the conversational element as the 
 poet's express device to lend the stamp of the prosaic. Such 
 must admit, however, that the disguise is not complete; in other 
 words, that there are glimpses of true poetry, poetry of a high 
 order, where there is probably no conscious imitation on the part 
 of the poet ; such passages as appear in the spontaneous expres- 
 sion of personal feeling ; other passages which can be traced to an 
 imitation of earlier Greek and Latin poets of the first rank, to 
 say nothing of poetic vocabulary and phrase, poetic syntax, epic 
 parodies, adaptation of epic content, and other poetic types. But 
 the poetic, rhetorical, and conversational elements are the natiiral 
 manifestation of a great departmental principle. To see in the 
 predominance of the conversational element nothing more than an 
 individual device is to reverse cause and effect, as w^ell as to 
 accuse Horace of grave lapses from a definite role. 
 
 In this investigation the epistles have been included for the 
 reason that the results would be unsatisfactory if we were left in 
 doubt as to the standing of the e^^istles from this point of view. 
 Moreover, Horace bears personal testimony^ to the close relation 
 of this later literary activity to his satires, by the employment of 
 the term sennones. There can be little doubt that this includes 
 both satires and epistles. External testimony points in the same 
 direction; see Quint. 1, 10, 94 ff., who in the discussion of Horace 
 has no separate head for the epistles.^ These passages will speak 
 for themselves. There is no need here to treat at length the dis- 
 cussions to which these and other direct or indirect references in 
 antiquity have given rise. Internally, as well, it is clearly estab- 
 
 ' Epp. 2, 1, 250 ; 2, 2, 60. 
 
 '^ Compare Sidonivs Carm. 9, 221 fE. ; Porphyr. on Senn. 1, 1, 1 ; also on Epp. 
 1, 1, 1. 
 
Satires and Epistles of Horace. 15 
 
 lished that the resemblances outweigh the differences, though the 
 latter are far from slight. No one can pass directly from the 
 satires to the epistles without being duly impressed with the change 
 of atmosphere, a change however which is somewhat baffling to 
 analyze. Most of the apparent differences stand upon one or two 
 primary distinctions. The first is a formal distinction in the 
 adoption of the epistolary style. Most of the remaining distinc- 
 tions reflect the natural development of the poet's life. In the 
 epistles we mark a broader circle of literary influence, and a 
 consequent growth of literary appreciation. The years which 
 elapsed between the two productions were years in which metrical 
 elegance was being more and more insisted upon. This is reflected 
 in the superiority of the epistles. Maturity has substituted much 
 philosophical lore and discussion for the brimming life of the 
 satires. Maturity too has wrought conservatism, and in the field 
 of humor we note in the epistles the substitution of the refined 
 and urbane for the more boisterous mirth of the satires. The 
 critical faculty and the didactic element are more marked in the 
 epistles.^ One thing well worth observing is the almost entire 
 absence of parody in the epistles, and with parody are lacking the 
 rapid contrasts treated in the same connection. No doubt this 
 phenomenon is also partly due to the above mentioned formal 
 distinction ; but not altogether. Parody is easy. It has not the 
 same charm for maturity as for youth. 
 
 The poetic passages in description of nature also show a majority 
 for the satires. But in the laudatory passages, o\Nang to the more 
 prominent personal element, and in those where the pastoral note 
 is discernible, the epistles present more poetic material, although 
 some of the best in both categories occur in the satires. The 
 same is true of the passages where philosophic earnestness affects 
 the style. The fine passage longer than the rest, reflecting 
 Lucretius in the description of primitive man occurs in the satires 
 (1, 3, 99 ff.). Cases of notably poetic comparisons also show the 
 epistles in the lead. 
 
 In our effort to discover the poetic element in the satires and 
 
 ^See Brand, /. c. 
 
16 The Poetic Element in the 
 
 epistles the way is not blazed by that lofty, often distorted imagi- 
 nation characteristic of much modern verse. Of the " low relief 
 of antiquity " Horace is by nature a fit representative. Modera- 
 tion and self-restraint are the keys to his composition as well as 
 to his life. Again we are not left without direct testimony ; see 
 A. P. 333 ff. : 
 
 aut prodesse volimt aut delectare poetae 
 aut simnl et iucunda et idonea dicere vitae. 
 quidquid praecipies, esto brevis, ut cito dicta 
 percipiant animi dociles teneantque fideles : 
 omne supervacuum pleno de pcctore manat. 
 ficta voluptatis causa sint proxima veris : 
 ne, quodcumque volet poscat sibi fabula credi, 
 neu pransae Lamiae vivum puerum extrahat alvo. 
 
 The genius of Horace extends to the minutest details of his 
 art. We must be willing to trace every application of the file. 
 See A. P. 289 ff. ; Epj). 2, 1, 167 ; and especially A. P. 45 ff. : 
 
 in verbis etiam tenuis cautusque serendis, 
 hoc amet, hoc spernat promissi carmiuis auctor. 
 dixeris egregie, notum si callida verbum 
 reddiderit iunctura novum. 
 
 These lines I suspect were in the mind of Conington when he 
 gave such apt expression to the following, especially, as in the 
 same paragraph he makes prominent reference to Horace's dictum 
 of the file : ^ 
 
 " We are apt, perhaps, not sufficiently to consider what is 
 involved in the style or diction of poetry. We distinguish sharply 
 between the general conception and the language, as if the power 
 which strikes out the one were something quite different from the 
 skill which elaborates the other. No doubt there is a difference 
 between the two operations, and one which must place a poet like 
 Virgil at a disadvantage as compared with the Avriters whom he 
 followed ; but it would be a mistake to suppose that imagination 
 
 ^ Edit, of Vergil, Haverfield's revision, vol. i, p. 16. 
 
Satires and Epistles of Horace. 17 
 
 may uot be shown in the words which embody a thought as well 
 as in the thought which they embody. To express a thought in 
 language is in truth to express a larger conception by the help of 
 a number of smaller ones ; and the same poetical faculty which 
 originates the one may well be employed in producing the other. 
 It is uot merely that the adaptation of the words to the thought 
 itself requires a poet's sense, though this is much ; but that the 
 words themselves are images, each possessing, or capable of 
 possessing, a beauty of its own, which need not be impaired, but 
 may be illustrated and set off, by its relative position, as contribu- 
 ting to the development of another and more complex beauty. It 
 is not necessary that these words, in order to be poetical, should 
 be picturesque in the strict sense of the term ; on the contrary, it 
 may suit the poet's object to make a physical image retire into the 
 shade, not advance into prominent light : but the imagination will 
 still be appealed to, whatever may be the avenue of approach — by 
 the effect of perspective, by artful juxtaposition, by musical sound, 
 or perhaps, as we have already seen, by remote intellectual 
 association." 
 
 With the Horatian method so clearly outlined by the author's 
 own dictum, it is evident that but one course is open to this 
 investigation; viz., an examination of the smallest elements of 
 style ; the sentence, phrase, and vocabulary. This examination it 
 is our puqDose to make from both the literary and syntactical 
 points of view.^ Our attitude toward the passages in Horace 
 which have been supposed to renounce all claim to poetic art is 
 that these passages at most can refer to the general texture of 
 style, and that the modest understatement so apparent in their 
 setting prompts just such an investigation. 
 
 Mueller has observed that the passages of poetic elevation are 
 for the most part very short. This is so, but again characteristic 
 of our author's style, and producing a distinct effect, for this 
 "effect of detiichmeut" appears quite as frequently in the odes, 
 and again recalls one of the leading characteristics of Pope. 
 
 ^ The syntactical side of the investigation will appear at an early date. 
 
 
 
 V 
 
 'VfRSlTY 
 
 o.. ,::, 
 
18 The Poetic Element in the 
 
 REAL POETRY. 
 
 lu a large class of examples it seems fruitless to classify, as 
 fruitless as to attempt to establish a law for the rapid play to be 
 observed throughout the satires. Nothing is more distinctive in 
 the satires of Horace than their rapid transitions. We may obser\^e 
 almost within the compass of the same sentence the conversational, 
 elevated, poetic, and parodic element. The poetic touch, as seen 
 in many of the follo-sving examples, is to strengthen the tone of 
 genial pleasantly. This object is often effected through contrast, 
 the poetic touch being in striking proximity to treatment of an 
 entirely different nature. 
 
 As examples, mark first Sat. 2, 6, 102 f, rubro ubi cocco | 
 tincta super lectos cauderet vestis eburuos,^ where following closely 
 upon an amusing epic parody we have a poetic description of 
 luxurious apartments. Thus most of the fable of the coimtry 
 and the city mouse has the setting of lofty style in contrast to 
 the simplicity of subject. 
 
 There is mucli of a similar character in the Canidia Satire 
 (1, 8), for instance, the poetic touch in the description of the 
 moon, vss. 21 f., simul ac vaga luna decorum | protulit os, — cf. 
 Verg. G. 4, 232 : simul os terris ostendit honestum ; A. 8, 589 : 
 Lucifer .... extulit os sacrum caelo. Observe too the elegance 
 of vss. 19 f., carminibus quae versant atque venenis | humanos 
 animos. Mark the weird solemnity of vss. 23 ff. : vidi egomet 
 nigra succinctam vadere palla | Canidiam, .... pallor utrasque | 
 fecerat horrendas adspectu. scalpere terram | unguibus et pullani 
 divellere mordicus agnam j coeperunt : cruor in fossam confusus, 
 ut inde | manis elicerent animas respousa daturas .... Hecaten 
 vocat altera, saevam | altera Tisiphonen. With vs. 34 the fantas- 
 tic imagination again lifts us into the sphere of the poetic, — 
 serpentes atque videres | iufernas errare canis Lunamque rubentem. 
 
 In Sat 1, 1, 68 : Tantalus a labris sitiens fugientia captat | 
 flumina — Horace is his own commentator for the impression he 
 
 ^ The citation of examples is throughout from the edition of Kiessling. 
 
Satires and Epistles of Horace. 19 
 
 wishes to convey by this apparently serious and poetic reference 
 to mythical material, as is seen in the immediate and abrupt : 
 quid rides? mutato nomine de te | fabula narratur. Cf. the 
 appreciative note of Fritzsche on the felicitous word collocation. 
 
 Even the gastronomic satire (2, 4) has its parallels ; vs. 30 : 
 lubrica nascentes inplent couchylia lunae ; vs. 77 : angustoque 
 vagos piscis urgere catiuo. 
 
 Sat. 2, 5, 49 : siquis casus puerum egerit Oreo. An oracle has 
 naturally a poetic setting, Sat. 1, 9, 31 : hunc neque dira venena, 
 nee hosticus auferet ensis. 
 
 In Epp. 1, 19, 44 : fidis enim manare poetica mella | te solum, 
 — Kiessling sees the possibility of a poetic reminiscence and com- 
 pares II. 1, 249 : ToO Koi airo >yX(ocrcn]<i /xeXLTO^ yXvKicov peev avhrj. 
 
 Mark the playful touch, Epp. 1, 18, 64 : donee | alterutrum 
 velox victoria fronde coronet ; also Sat. 1, 5, 97 : dehinc Gnatia 
 lymphis | iratis exstructa dedit risusque iocosque. 
 
 Sat. 2, 1, 57 f., seu me tranquilla senectus | exspectat sen Mors 
 atris circumvolat alis, — Horace grows poetic over his determina- 
 tion to write : cf. Verg. 6, 86(3 ; Tibul. 1, 3, 5 ; Iliad, 2, 834, and 
 especially 16, 350; Odyss. 4, 180. 
 
 Sat. 2, 7, 115 : nam comes atra premit sequiturque fugacem. 
 Kiessling notes, Der Gedanke ist das Motiv zu Od. iii, 1, 37 fg. 
 und hat dem beriilimten post equitem sedet atra cura seine Farbe 
 geliehen. Note the immediate transition in the rejoinder : unde 
 mihi lapidem? 
 
 In Ej^p. 2, 2, 79 f., observe the contrast of the lines : tu me 
 inter strepitus nocturnos atque diurnos | vis canere et contracta 
 sequi vestigia vatum ? 
 
 Sat. 1, 6, 23 f., sed fulgente trahit constrictos Gloria curru | non 
 minus ignotos generosis. Mark the easy reference to the fable 
 immediately preceding, in propria non pelle quiessem, and the con- 
 versational style immediately following, quo tibi, Tilli | sumere 
 depositum clavum fierique tribuno? Cf. Epj). 2, 1, 177. 
 
 Sat. 2, 3, 136: in matris iugulo ferrum tepefecit acutum? 
 Wickham marks the contrast between the epic realism of the line 
 and the semi-comic conclusion of the passage. 
 
20 The Poetic Element in the 
 
 Sat. 1, 1, 4 f., gravis anuis | miles ait, multo iam fractus membra 
 labore. 
 
 We will next cite passages in description of nature or natural 
 phenomena. 
 
 Sat. 2, 6, 25 f., sive aquilo radit terras sen bruma nivalem | 
 interiore diem gyro traliit. The verb radere has numerous strik- 
 ing uses in the poets; cf. Verg. A. 5, 216 f., mox aere lapsa 
 quieto | radit iter liquidum, celeres neque commovet alas. Cf. 
 Milton, Par. Lost, ii, 634 : " Shaves with level wing the deep." 
 
 Other descriptions associated with winter occur. Sat. 1, 1, 36 : 
 simul inversum contristat Aquarius annum. Cf. Verg. G. 3, 
 279 : pluvio contristat frigore caelum. 
 
 We have an undoubted poetic verse in Sat. 1, 7, 27 : ruebat | 
 flumen ut hiberuum, fertur quo rara securis. It is in marked 
 contrast to its setting in the wordy Vv'ar between Rupilius Rex 
 and Persius. Cf. Ov. Fast. 4, 649 : silva vetus nullaque diu 
 violata securi. 
 
 Note the following rapid panorama of distant scenes, where, 
 too, personification lends poetic color, Epp. 1, 3, off.: Thracane 
 YDS Hebrusque nivali compede viuctus, | an freta vicinas inter 
 curreutia turris, | an pingues Asiae campi collesque morautur? 
 Cf. Ejjp. 1, 16, 12 f. 
 
 With this flitting from point to point, yet in their choice of 
 the sunny side of nature a contrast to the above, compare A. P., 
 16 ff. : cum lucus et ara Dianae | et properautis aquae per amoenos 
 ambitus agros | aut flumen Rhenum aut pluvius describitur arcus. 
 Epj). 1, 6, 5 f., quid censes munera terrae, | quid maris extremes 
 Arabas ditantis et Indos. Sat. 1, 4, 30 : vespertina tepet regio. 
 The brief poetic touch is again in contrast with its setting. 
 Miiller notes : In Bezug auf den erhohten Ton der Rede bemerke 
 man, dass Horaz ofters in Satiren uud Episteln, wo er von der 
 auri sacra fames redet, pathetisch wird. Cf. Sat. 1, 1, 38 if. 
 
 Sat. 1, 1, 58 : cum ripa simul avolsos ferat Aufidus acer. Cf. 
 Od. 4, 14, 25 ff.: sic tauriformis volvitur Aufidus, | qui regna 
 Dauni prsefluit Apuli, | cum saevit horrendamque cultis | diluviem 
 meditatur agris. Od, 3, 30, 10 : violens Aufidus. Od. 4, 9, 2. 
 
V. 
 
 Satires and Epistles of Horace. 21 
 
 Most of the examples quoted above are iu description of far 
 away scenes of Thrace, India, etc., but those at home claim none 
 the less share of the poet's attention, especially when the pride 
 of ownership lends charm in the eyes of the poet. Thus in the 
 opening of the sixteenth epistle of the first book, addressed to 
 Quiutus, a rather longer description of his estate than usual dis- 
 closes many poetic touches, one of which occurs in vss. 5 ff. : 
 continui montes dissocientur opaca | valle, sed ut veniens dextrum 
 latus aspiciat sol, | laevum decedens curru fugiente vaporet, | 
 temperiem laudes. 
 
 Epp. 1, 18, 104f., me quotieus reficit gelidus Digentia rivus, | 
 quem Mandela bibit, rugosus frigore pagus. With the last phrase 
 it is interesting to compare a line in Shelley's Prometheus Unbound, 
 Act 1, "Ye icy Springs, stagnant with lorinJding frost," — and still 
 nearer to our passage, Act 2, scene 1, 
 
 " When swift from the white Scythian wilderness 
 A wind swept forth wrinkling the Earth with frost." 
 
 Sat. 2, 6, 91: praerupti nemoris patientem vivere dorso? 
 comes again from the fable of the city and the country mouse. 
 
 Observe the poetic one line description of Anxur as it breaks 
 upon the view in the journey to Brundisium, Sat. 1, 5, 26 : 
 inpositum saxis late candentibus Anxur. 
 
 In this connection we will cite a few similes and metaphors. 
 Two come under nature descriptions, Sat. 1, 7, 27 ; see p. 20. 
 Epp. 1, 16, 13 : ut nee | frigidior Thracam nee purior ambiat 
 Hebrus. In these, as in the following, note the employment of 
 the river, a favorite comparison with our author. 
 
 The bard in his choice of felicitous expression will flow like 
 a crystal stream, Epp. 2, 2, 120: vemens et liquidus puroque 
 simillimus amni | fundet opes Latiumque beabit divite lingua. 
 Epp. 1, 2, 43 : at ille | labitur et labetur in omue volubilis 
 aevum. 
 
 The vocabulary of a language grows old, words change and die 
 away like the leaves of the forest, A. P. 60 : ut silvae foliis 
 pronos mutantur in annos. 
 
 The comparisons, as we shall so frequently observe elsewhere, 
 
22 The Poetic Element in the 
 
 are sometimes iu contrast to the amusing setting of the descrip- 
 tion, as at the upstart's dinner party, Sat. 2, 8, 13 f., ut Attica 
 virgo I cum sacris Cereris procedit fuscus Hydaspes. Vss. 54 ff. : 
 interea suspensa gravis aulaea ruiuas | in patinam fecere, trahentia 
 pulveris atri | quantum non aquilo Campanis excitat agris. Cf. 
 Sat. 1, 4, 31. 
 
 In the following the editors have noted a probable reminiscence. 
 Sat. 1, 1, 114 if. : ut, cum carce7'ibus missos rapit ungula currus, I 
 instat equis auriga suos vincentibus, ilium | praeteritum temnens 
 extremes inter euntem. Yerg. G. 1, 512 if. : saevit to to Mars 
 impius orbe; | ut cum carcerihus sese effudere quadrigae, | addmit 
 in spatio, et frustra retinacula tendens | fertur equis auriga, neque 
 audit currus habenas. 
 
 Examination shows the setting of the Horace passage quite 
 natural and easy, whilst the comparison of Vergil seems not well 
 chosen. Sellar, Roman Poets, Vergil, p. 174, thinks Vergil had 
 the Horace passage iu mind. He is followed by Wickham. 
 Kiessliug leans to the same solution ; see his note, and introduc- 
 tion to the satires, p. xiv f. 
 
 Compare the simile of the bear, A. P. 472 f., ac velut ursus, | 
 obiectos caveae valuit si frangere clathros; of the bee, Epp. 1, 3, 
 21 : quae circumvolitas agilis thyma? of the horse, Epp. 1, 2, 64 : 
 iingit equum tenera docilem cervice magister, — of the hunting-dog, 
 Epp. 1, 2, 65 ff., venaticus, ex quo | tempore cervinam pellem 
 latravit in aula, | militat in silvis catulus. 
 
 The following are less striking, E2)p. 2, 2, 201 f., non agimur 
 tumidis velis aquilone secundo, | non tamen adversis aetatem 
 ducimus austris. Sat. 2, 1, 40 f., et me veluti custodiet ensis | 
 vagina tectus. 
 
 Several pastoral passages are to be noted, some strongly recall- 
 ing the eclogues of Vergil, which it is more than likely Horace 
 had read or heard. Sat. 1, 10, 44 f., molle atque facetum | 
 Vergilio adnuerunt gaudentes rure camenae, would suggest not 
 only that Vergil had published his eclogues, but that Horace 
 appreciated and had imbibed some of their spirit. 
 
 Seemingly reminiscent of the fourth eclogue in its suggestion 
 
Sailres and Ejnstles of Horace. 23 
 
 of the return of peace and the golden age is Epp. 1, 12, 28 f, 
 aurea fruges | Italiae pleno defudit Copia cornu. Cf Hor. C. S. 
 59 f , adparetque beata pleno | Copia cornu. There are numerous 
 parallels in Horace. Cf Od. 1, 17, 16 ; 4, 2, 40 ; 4, 5, 17 ; 4, 
 15, 5. Material prosperity with rich harvests lends much of the 
 attraction in all these pictures. 
 
 Sat 2, 2, 124f., ac venerata Ceres, ita culrao surgeret alto, | 
 explicuit vino contraetae seria frontis. Cf. Verg. EcL 5, 39 ; 6, 
 
 39; G. 1, 161. 
 
 Ejjp. 1, 16, 2f, arvo pascat erum an bacis opulentet olivae, | 
 pomisne an pratis an amicta vitibns ulmo. 
 
 Epp. 1, 2, 45 : et incultae pacantur vomere silvae. Sat. 1, 1, 
 28 : ille gravem duro terram qui vertit aratro. Cf A. P. 6Q. 
 
 Epp. 1, 10, 6 f , ego laudo ruris amoeni | rivos et musco cir- 
 cumlita saxa nemusque. Cf. Verg. Eel. 6, 62. 
 
 Ejyp. 1, 16, 8 if. : quid, si rubicunda benignae | corna vepres et 
 pruna ferant? si quercus et ilex | multa fruge pecus, multa domi- 
 num iuvet umbra? 
 
 Ejip. 1, 8, 4 ff. : baud quia grando | contuderit vitis oleamve 
 momorderit aestus, | nee quia longinquis armentum aegrotet in 
 
 agris. 
 
 Sat. 1, 3, 37: namque | neglectis ureuda filix innascitur agris. 
 Cf Verg. G. 2, 189 : et filicem curvis invisam pascit aratris. 
 
 Epp. 1, 14, 26 ff. : et tamen urgues | iam pridem non tacta 
 ligonibus arva bovemque | disiunctum curas et strictis frondibus 
 exples. 
 
 Epp. 2, 1, 207 : lana Tarentino violas imitata veneno. Cf 
 Verg. Ed. 4, 42. E2)p. 2, 2, 160 f, et vilicus Orbi, | cum segetes 
 occat tibi mox frumenta daturas. Cf. Sat. 2, 2, 115. 
 
 Note in the comparison Horace makes for Fuscus in Epp. 1, 
 10 how the poetic touches appear on the side of the country as 
 against the city; see Epp. 1, 10, 6 f, cited above. Cf Epp. 1, 
 10, 15ff. : est ubi plus tepeant hiemes, ubi gratior aura | leniat 
 et rabiem Canis et momenta Leonis, | cum semel accepit Solem 
 furibundus acutum ? In the city even an artificial likeness to the 
 country commends itself, vss. 22 f, nempe inter varias nutritur 
 silva columnas, | laudaturque domus longos quae prospicit agros. 
 
24 The Poetic Element in the 
 
 From these passages together with those cited under nature 
 descriptions, we are in a position to suspect the correctness of 
 Tyrrell's view that Horace was not a lover of the country for its 
 own sake; see his "Latin Poetry," p. ISOff. 
 
 The next group to be considered is composed of distinctly 
 laudatory passages. By far the greater number pertain to 
 Augustus, many to his military achievements. As we should 
 expect these passages reveal considerable poetic material. We 
 note first the achievements of Augustus among the Parthians, 
 Epp. 1, 18, 54 if. : denique saevam [ militiam puer et Cantabrica 
 bella tulisti | sub duce qui templis Parthorura signa refigit. Cf. 
 Sat. 2, 5, 62 ff. : tempore quo iuvenis Parthis horreudus, ab 
 alto I demissum genus Aenea, tellure marique | magnus erit. Cf. 
 Verg. A. 1, 288 : lulius, a magno demissum nomen lulo. Verg. 
 6r. 3, 35 : demissaeque ab love gentis. 
 
 Highly poetic and in an epic vein is Sat. 2, 1, 13 ff. : neque 
 enim quivis horrentia pilis | agmina nee fracta pereuntis cuspide 
 Gallos I aut labentis equo describit volnera Parthi. 
 
 Sat. 2, 1, 10 ff., aude | Caesaris invicti res dicere, multa labo- 
 rum I praemia laturus, where observe the satirical note in the 
 mouth of Trebatius. Wickham notes that Horace employs invidus 
 of Achilles, Upod. 13, 12 ; and of Juppiter, Od. 3, 27, 73. 
 
 Epp. 2, 2, 47 ff., me .... civilis .... tulit aestus in arma | 
 Caesaris Augusti non responsura lacertis. Epp. 1, 3, 8 : bella 
 quis et paces longiun diffundit in aevum? Ej^p. 1, 17, 33 f., res 
 gerere, et captos ostendere civibus hostis, | attingit solium lovis et 
 caelestia temptat. 
 
 It is not perfectly clear in the following reference whether 
 Horace has in mind Julius Caesar or Augustus. A. P. 63 ff. : 
 sive receptus | terra Neptunus classis aquilonibus arcet, | regis 
 opus, sterilisve pains diu aptaque remis | vicinas urbis alit et 
 grave sentit aratrum, | sen cursum mutavit iniquum frugibus 
 amnis | doctus iter melius : mortalia facta peribunt, | nedum 
 sermonum stet honos et gratia vivax. 
 
 Epp. 2, 1, 5 ff. : Romulus et Liber pater et cum Castore 
 Pollux, I post ingentia facta deorum in templa recepti, j dum 
 
Satires and Epistles of Horace. 25 
 
 terras homiunmque colunt genus. Here in the adulation of the 
 poet Augustus is grouped, at least by implication, with the deities 
 of vs. 5, and with Hercules in vss. 10 if. 
 
 Elevated, and frequently poetic, is Ej^p. 2, 1, 245 ff. : 
 
 at neque dedecorant tua de se indicia atque 
 munera quae multa dautis cum laude tulerunt 
 dilecti tibi Vergilius Variusque poetae, 
 nee magis expressi voltus per aenea signa 
 quam per vatis opus mores auimique virorum 
 clarorum adparent. nee sermones ego mallem 
 repentis per humum quam res conponere gestas, 
 terrarumque situs et flumiua dicere et arcis 
 montibus inpositas et barbara regna tuisque 
 auspiciis totum confecta duella per orbem 
 claustraque custodem pacis cohibentia lanum 
 et formidatam Parthis te principe Romam. 
 
 SaL 1, 10, 48 f. is a poetic reference to Lucilius : neque ego 
 illi detrahere ausim | haerentem capiti cum multa laude coronam. 
 
 Several laudatory poetic touches occur in the epistle to Julius 
 Florus (1,3); see above the one upon Augustus, vs. 8. Vs. 25 
 concerns Julius Florus himself: prima feres hederae victricis 
 praemia. Vs. 12f. refers to Titus : fidibusne Latinis | Thebanos 
 aptare modos studet auspice musa ; also vs. 10 f., Pindarici fontis 
 qui non expalluit haustus, | fastidire lacus et rivos ausus apertos. 
 Note the fine effect of expallesco employed transitively. 
 
 Sat 2, 1, QQ: qui | duxit ab oppressa meritum Carthagine 
 nomen. 
 
 Next to be considered are passages where a tone of philosophic 
 earnestness elevates the style into the poetic sphere. 
 
 A strong passage on the primitive condition of man, contaming 
 much of the thought o{ Lucretius 5, 803 ff., is Sat. 1, 3, 99 ff. 
 Mark especially vss. 99 ff., cum prorepserunt primis animalia 
 terris, | mutum et turpe pecus, glandem atque cubilia propter | 
 uuguibus et puguis .... puguabaut ; and vss. 108 ff. : sed ignotis 
 
26 The Poetic Element in ilie 
 
 perierunt mortibus, illi | quos Venerem incertara rapientes more 
 feraruni | viribus editior caedebat ut in grege taurus. 
 
 Death is the leveler of possessions and possessor, Epp. 2, 2, 
 177 ff. : quid vici prosunt aut horrea, quidve Calabris | saltibus 
 adiecti Lucani, si metit Orcus | grandia cum parvis, non exora- 
 bilisauro? Cf. 0(Z. 2, 18, 34. 
 
 The event of nature is heralded by the flight of years, which 
 steal in their course the delights of life, Epp. 2, 2, 55 : singula 
 de nobis anni praedantur euntes. Envy pursues to the end, 
 witness the case of Hercules, Epp. 2, 1, lOff. : diram qui con- 
 tudit hydram | notaque fatali portenta labore subegit, | conperit 
 invidiam supremo fine domari. 
 
 For an elevated description of natural phenomena referred to 
 Empedocles and Stertinius, cf. Epp. 1, 12, 15if. : et adhuc sub- 
 limia cures, j quae mare conpescant causae, quid temperet annum, | 
 stellae sponte sua iussaene vagentur et en-ent, | quid premat 
 obscurum lunae, quid proferat, orbem, | quid velit et possit rerum 
 Concordia discors, | Empedocles an Stertiuium deliret acumen. 
 Cf. Verg. G. 2, 475 ff. ; Prop. 4, 5, 25 ff. 
 
 A simple mode of living once appreciated will be adhered to 
 even in prosperity, Epp. 1, 12, 8 f , sic vives protinus, ut te | 
 confestim liquidus Fortunae rivus inauret. 
 
 A word once uttered may never be recalled, Epp. 1, 18, 70 f., 
 nee retinent patulae conmissa fideliter aures, | et semel emissum 
 volat inrevocabile verbum. 
 
 Mark the elegance of Sat. 2, 2, 79 : atque adfigit humo divinae 
 parti culam aurae. 
 
 The following are interesting as reflecting the emotional side 
 of our author : 
 
 Mark the sympathy of Epp. 1, 14, 6 ff. : me quamvis Lamiae 
 pietas et cura moratur, | fratrem maerentis, rapto de fratre do- 
 lentis I insolabiliter. This touch recalls for a moment the general 
 rhythm and expression of Catullus. Note the repetition and 
 rhyme. 
 
 In Sat. 1, 5, 43, we have the joy of meeting : o qui conplexus 
 et gaudia quanta fuerunt ! in Sat. 2, 6, 60 ff., the longing for his 
 beloved country : o rus, quando ego te aspiciam quandoque lice- 
 
Satires and Epidles of Horace. 27 
 
 bit I nunc veterum libris, nunc somno, et inertibus horis | diiccrc 
 sollicitae iucunda oblivia vitae? Observe the metrical beauty 
 of tlie last verse, and the felicitous collocation of vowels and 
 consonants. 
 
 Naturally an elevation of style accompanies an expression of 
 filial affection, Sat. 1, G, 93 ff. : nam si natura iuberet | a certis 
 annis aevum remeare peractum, | atque alios legere ad fastum 
 quoscumque parentes | optaret sibi quisque, meis contentus hones- 
 tos I fascibus et sellis nollem railii sumere. 
 
 In Epp. 1, 19, 21 f., Horace is again proudly in earnest : libera 
 per vacuum posui vestigia princeps, | nou aliena meo pressi pede. 
 
 Lastly may be noted a few passages in praise of wine. Sat. 
 1, 4, 89: coudita cum verax aperit praecordia Liber. Cf. the 
 playful Epp. 1, 19, 3 ft.: ut male sanos | adscripsit Liber Satyris 
 Faunisque poetas, | vina fere dulces oluerunt mane Camenae. | 
 laudibus arguitur vini vinosus Homerus : | Ennius ipse pater 
 numquam nisi potus ad arma | prosiluit dicenda. Cf. too Epp. 
 1, 5, 16 ff.: operta recludit, | spes iubet esse ratas, ad proelia 
 trudit iuertem, | soUicitis animis onus eximit, addocet artis. | 
 fecundi calices quem non fecere disertum ? | contracta quem non 
 in paupertate solutum ? ^ 
 
 PARODY. 
 
 As indicated in the introduction we naturally find most of this 
 in the earlier work of the poet, viz., the Satires. Parody is the 
 hand-maid of satire, and by its very nature finds its home in 
 the satiric sphere. Wherever in antiquity a department of litera- 
 ture clothed itself in an essentially distinctive form and language, 
 parody, especially with the quick-witted Greeks, immediately 
 arose to suit humorous and frequently ridiculous material to the 
 new mold. For such comic adaptation epic and tragedy were 
 manifestly the richest field. The ass delighted to disport in the 
 skin of the lion. 
 
 iCf. Sat. 2, 6, G7fF. ; Kpp. 1, 14, 34f. ; Epp. 1, 15, 18. 
 
28 The Poetic Element in the 
 
 Parody is not a business with Horace. No detailed employ- 
 ment of it parallel" to that of the great Greek master is to be 
 found. It is not sought, but comes unbidden. There is no 
 straining for eifect. The brief touches which enliven the satires 
 impress us as genuine ebullitions of innate humor, the natural 
 expression of a mind richly dowered with literary reminiscence at 
 play in the freedom of satiric style. 
 
 The parodic touch is at times broad and unmistakable, at times 
 subtle and insinuating, now dealing with well-known or charac- 
 teristic epic phraseology, or shading into half-tones of mock 
 solemnity ; now running in elusive, not to say baffling suggestive- 
 ness of the very breath or spirit of epic and tragic style. 
 
 We will first note two humorous and frequently quoted parodies 
 of epic descriptions of night. Sat. 1, 5, 9 f., iam nox inducere 
 terris | umbras et caelo diffundere signa parabat. Cf. 7/. 14, 259 ff. 
 The goddess Night lends Latin poetry many beautiful metaphors. 
 Ennius, Vahlen A. 339 : hinc Nox processit stellis ardentibus 
 apta. Verg. A. 2, 360: nox atra cava circumvolat umbra; 3, 
 198: nox humida caelum abstulit ; 1, 89: ponto nox incubat 
 atra ; 2, 250 : vertitur interea caelum et ruit oceano nox, | 
 involvens umbra magna terramque polumque. Cf. Ov. Met. 11, 
 309 : nox atra cava circumvolat umbra. There are frequent 
 parallels in later Latin epic. 
 
 This parody renders more humorous by contrast the succeeding 
 lines which Wickham aptly terms a " Dutch picture." 
 
 Nox no less than Sol is frequently represented as traversing 
 the heavens in her chariot ; note the parody in Sat. 2, 6, 100 if., 
 iamque tenebat | Nox medium caeli spatium, cum ponit uterque | 
 in locuplete domo vestigia. Cf. Eurip. Ion 1150: /ieXa/iTrcTrXo? 
 he Nuf acreipwrov ^vyol'i | o'^^rj/j,^ eiraWev. Cf. also Verg. A. 5, 
 721 : et Nox atra polum bigis subvecta tenebat. Tibul. 2, 1, 
 87 f., iam Nox iungit equos, currumque secuntur | matris lascivo 
 sidera fulva choro, — 3, 4, 17 f., iam Nox aetherium nigris emensa 
 quadrigis | mundum caeruleo laverat amne rotas. See Langen on 
 Val. Flac. 3, 211 ; Stat. Theh. 2, 59. 
 
 Another parodic touch is Sat. 1, 5, 20 : iamque dies aderat 
 .... cum. 
 
Satires and Epidles of Horace. 29 
 
 The following examples iuclicate that Horace had Homer more 
 or less in mind. Sat. 1, 5, 51if. : nunc mihi paucis | Sarmenti 
 scurrae puguam Messique Cicirri, | musa, velim memores et quo 
 patre uatus uterque | coutulerit litis. Messi clarum genus Osci, | 
 Sarmenti domiua exstat : ab his maioribus orti | ad pugnam 
 veuere. Mueller thinks that Horace has here the beginning of 
 the Odyssey in mind. 
 
 The muse is addressed again in Epj). 1, 8, 2 : Musa rogata 
 refer, where however the allusion is but playful. 
 
 Sat. 2, o, 20 f., fortem hoc animum tolerare iubebo : et quondam 
 maiora tulit. Cf. Odyss. 20, 18 : TerXaBi 8rj, KpaSirj, Kal Kvvrepov 
 aXXo TrorerXi]^. Fortem probably translates the epithet rXrjixova. 
 In Sat. 2, 1, 60: 'o puer, ut sis vitalis metuo,' Horace is 
 doubtless parodying II. 18, 95 : wKv/xopo^ Brj fiot, re/co?, eaaeai, 
 ol'a'yop€V€t<i. 
 Sat. 1, 7, 9 flf. : 
 
 postquam nihil inter utrumque 
 convenit (hoc eteuim sunt omues iure molesti 
 quo fortes quibus adversum bellum incidit. inter 
 Hectora Priamiden, aniraosum atque inter Achillem 
 ira fuit capitalis, ut ultima divideret mors, 
 non aliam ob causam nisi quod virtus in utroque 
 summa fuit : duo si Discordia vexet inertis 
 aut si disparibus bellum incidat, ut Diomedi 
 cum Lycio Glauco, discedat pigrior, ultro 
 muneribus missis), Bruto praetore, tenente 
 ditera Asiam, Rupili et Persi par pugnat uti non 
 conpositum melius cum Bitho Bacchius. 
 
 Horace approaches the ridiculous encounter between Persius and 
 Pupilius Pex as some soul-stirring event. Mark the retardmg 
 effect of the long parenthesis, with the drop at its close from epic 
 material to the details of a ludicrous wrangle. Some of the 
 expressions suggest well-known Homeric phrases, i. e., adversum 
 bellum, St^io? Tro'Xeytio?, II. 4, 281 ; animosum Achillem, fieyddvfio^ 
 'AxtXXeu? ; ultima .... mors, Te\o<i davdroio. Note the epic 
 verse ending, a monosyllable following a choriambus. Cf. Odyss. 
 
30 The Foetic Element in the 
 
 5, 294 : 6p(i)p6L S'ovpavoOev vv^. Verg. A. 2, 250 : ruit Oceano 
 nox. Horace burlesques this use in A, P. 139 : nascetur ridi- 
 culus mus. For comic effect Horace intentionally departs from 
 the description of II. 6, 235, where there is no suggestion of 
 cowardice on the part of Glaucus. More fair would have been 
 the imputation of avarice and cunning to Diomedes. 
 
 For further epic touches in this satire cf. vs. 28 : multoque 
 fluenti, and vs. 30 : durus | vindemiator et invictus. 
 
 In Epp. 1, 18, 18: pretium aetas altera sordet, Kiessling sees 
 a parody of II. 9, 444 ff. : airo ado, <^l\ov re/co?, ovic ideXoific | 
 Xeiireaff, ovS' et k€v fxoi viroaTaLr] ^eo9 avro^ | yrjpa^ airo^vcra^ 
 O'qaeiv veov rj/Scoovra. 
 
 Sat. 2, 5, 49 : siquis casus puerum egerit Oreo, suggests //. 1, 
 3 : "AiSi 7rpoLa-\}rev. 
 
 Sat 1, 9, 78 : sic me serva\^t Apollo. Cf. II. 20, 443, of the 
 rescue of Hector : rbv 8' i^j]pTTa^ev ^AttoWcov. In the very same 
 vein is vs. 20 of this same satire : demitto auriculas, recalling the 
 pathetic words of Odyss. 17, 302 : ovara KUfifiaXev. 
 
 Sat. 2, 3, 72 : cum rapies in ius malis ridentem alienis. Cf. 
 Odyss. 20, 347 : jvadfiolac yeXcocov aWorpioLo-Lv. See Porphyrio 
 on the passage. 
 
 Sat. 1, 2, 69 ; diceret haec animus. Mueller notes : wie bei 
 Homer Odysseus seinen iJbeyaXijTopa dvfjLov auredet (uachgeahmt 
 von Ennius Ann. vi, 25), so wird auch hier der Geist vom Men- 
 schen geschieden. 
 
 Sat. 1, 8, 40: singula quid memorem is an amusing touch in 
 the mock solemnity of the Canidia satire. 
 
 With a like eifect Sat. 1, 10, 32, represents Romulus' appear- 
 ance to Horace in a dream. Romulus immediately mouths a 
 proverb, and so heightens the parody : vetuit me tali voce 
 Quirinus, | post mediam noctem visus, cum somnia vera: | 'in 
 silvam non ligna feras insanius ac si | magnas Graecorum malis 
 inplere catervas.' 
 
 In Sat. 2, 8, 73 f., Balatro tops oif his ironical speech with a 
 mock heroic phrase : sed convivatoris uti ducis ingenium res | 
 adversae nudare solent, celare secundae. 
 
 A few examples in the form of a prayer may be cited. Sat. 
 
Satires and Epistles of Horace. 31 
 
 2, 6, 20 if. : Matutine pater sen lauo libentius and is, | uude 
 homines operuni primos vitaeque labores | instituuut (sic dis 
 placitum), tu carmiuis esto | principium. Cf. //. 24, 308. 
 
 Epj). 1, IG, 62 : 'lane pater .... Apollo .... da mihi fallere, 
 da iusto sanctoque videri, | uoctem peccatis et fraudibus obice 
 nubem.' Miiller notes : wie die G5tter bei Homer selbst ^epi koI 
 v€(f)e\r) unerkeuubar einherschreiten, audi ihre Scliiitzlinge in 
 solclier Verhiilluug der Gefahr entzieheu ; 11. 3, 380 f. ; 20, 
 443 f. 
 
 Sat. 2, 5, 50 f., ' o Laertiade, quidquid dicam aut erit aut non : 
 divinare eteuim magnus mihi donat Apollo.' Mueller's argument 
 against the above punctuation is entirely without force. From 
 the point of view of Tiresias the word collocation is perfectly 
 innocent of ambiguity, equivalent to the ra Se tol vrjfi^epTea eipw of 
 Odyss. 11, 137; but with Horace, without doubt, the intention 
 was to augment the humor of the parody by the implied uutrust- 
 worthiness of ancient oracles. 
 
 Oracular language is again employed for ludicrous effect in Sat. 
 2, 4, 10: ede hominis nomen, and in the answer, vs. 11: ipsa 
 memor praecepta canam, celabitur auctor. 
 
 In Sat. 1, 2, 37 f , audire est operae pretium, procedere recte | 
 qui moechos non voltis, ut omui parte laborent, — Horace has a 
 parody of Ennius of rather coarse application, Vahlen A. 465 : 
 audire est operae pretium, procedere recte | qui rem Romanam 
 Latiumque augescere vultis. Cf Sat. 2, 4, 63 : est operae pretium, 
 where Horace may have had the same phrase in mind. 
 
 The following may also be Ennian parodies ; note the Vergilian 
 parallels. Sat. 2, 8, 34 : nos nisi damnose bibimus, raoriemur 
 inulti; cf Verg. A. 2, 670: numquam omnes hodie moriemur 
 iuulti. Sat. 1, 5, 73 f , nam vaga per veterem dilapso flamma 
 culinam | Volcano summum properabat lambere tectum ; cf Verg. 
 A. 2, 684: lambere flamma comas; iMcret. 5, 396. Mark the 
 alliteration. 
 
 Mueller sees in A. P. 421 a possible parody of Verg. A. 9, 26. 
 This is to be regarded as the very remotest of possibilities. 
 
 Two passages very well attested as referring to the same poet, 
 Furius Bibaculus, are Sat. 1, 10, 36 f , turgidus Alpinus iugulat 
 
32 TJie Poetic Element in the 
 
 dum Memuona dumqiie | diffingit Rheui luteura caput ; Sat. 2, 5, 
 39 ff. : sen rubra cauicula findet | infautis statuas, seu pingui 
 teutus omaso | Furius hibernas cana uive conspuet Alpis. 
 
 The following are good examples of the heroic yvtofirj : Sat. 2, 
 2, 135 f., quocirca vivite fortes | fortiaque adversis opponite pec- 
 tora rebus ; cf. Eurip. Belhrophon frag. 304, Nauck : ddpao'i he 
 7rpd<i ra? (Tvii^opa<i \xe<^a aOevet. Sat. 1, 9, 59 f., nil sine magno 
 vita labore dedit mortalibus. The editors cite Soph. Eledra 945 : 
 irovov Toi xo^P^'^ ovhev evTy%et. Find. 01. X (xi), 24 f, ; Hesiod 
 Op. 289 : rrfi h^apery)^ iBpcora Oeol TrpoirdpoLOev edrjKav. 
 
 Sat. 2, S, 65 f. may be cited as a parody of philosophic earnest- 
 ness: "haec est condicio vivendi" aiebat, "eoque | responsura tuo 
 numquam est par fama labori." 
 
 In the close of his culinary satire Horace humorously parodies 
 the Epicurean doctrine of Lucretius ; see Sat. 2, 4, 93 flf. : at 
 mihi cura | non mediocris inest, fontis ut adire remotos | atque 
 haurire queam vitae praecepta beatae; cf. I/ucret. 4, 2 f., iuvat 
 integros accedere fontis | atque haurire. 
 
 A few less prominent examples are to be found in the Epistles. 
 Epj). 2, 2, 91 f., each poet's exclamation upon seeing the others 
 work: mirabile visu | caelatumque novem Musis opus! Epp. 1, 
 10, 8 f., vivo et regno, simul ista reliqui | quae vos ad caelum 
 effertis rumore secundo. Epp. 2, 1, 109 f., puerique patresque 
 severi I fronde comas vincti ceuant et carmina dictant. 
 
 Sat. 1, 5, 3 : Graecorum longe doctissimus, is a mock heroic 
 touch. Note the amusing setting of the archaic and epic formula 
 in Sat. 1, 2, 31 f., 'macte | virtute esto.' 
 
 Sat. 2, 6, 93 ff. strongly recalls Eurip. Alkest. 782 ff., 
 
 carpe viam, mihi crede, comes ; terrestria quando 
 mortalis animas vivunt sortita neque ullast 
 aut magno aut parvo leti fuga : quo, bone, circa, 
 dum licet, in rebus iucundis vive beatus, 
 vive, memor quam sis aevi brevis. 
 
 /3/30T0t? diracTi KarOavelv 6(f)etX€TaL, 
 KOVK eariv Ovtjtmv oaTi<i i^eTriararat 
 T7)v avpLOv fieWovaav el ^iwaerai 
 
Satires and Epistles of Horace. 33 
 
 ravT^ ovv aKovaa^ Kol fiadcbv ifiov irdpa, 
 ev(f>paiv€ aavTov, Trlve, rov Kad' r/fjuepav 
 ^lov Xoyi^ov adv, to, 8'aWa tt}? Tu^?;?. 
 
 In Sat. 2, 3, 187 ff., the illustration has been taken bodily, 
 names included, from well-known Homeric material. Whilst the 
 subject matter is partly epic, the treatment is dramatic, with 
 droll and parodic touch. Agamemnon is throughout the haughty 
 imperturbable king. The humor of the situation consists in 
 the fact that the Stoic does not manifest the necessary humility, 
 but begins with easy and careless assurance, "ne quis humasse 
 velit Aiacem, Atrida, vetas cur ? " The icy and crushing retort 
 of Agamemnon, "rex sum," falls on the unprepared Stoic like the 
 staff on the back of Thersites, and the result here as there is a 
 whimper ; note the humble and prostrate rejoinder, " nil ultra 
 quaero plebeius." Having so effectually established his authority, 
 the king condescends to justify his course. The Stoic, however, 
 has learned his lesson so well that he needs further encouragement 
 before he will proceed. This time the comic effect is heightened 
 by the fact that he mouths a verse of the Iliad (1, 18). He 
 grows more fearless and dramatic as he proceeds, but does not 
 again drop into the tone of vs. 187. On vs. 192 Wickham rightly 
 observes that part of the humor consists in the burlesque mingling 
 of technicalities of Roman life with Homeric echoes. Note con- 
 sulere — respondere liceblt, and cf. with the Homeric reminiscence 
 of vss. 191, 193, and 195. The consummate blend of these 
 various elements makes this passage one of the most delightful 
 bits in Horace. 
 
 In the same connection attention may be called to the dramatic 
 elements of the dialogue between Stertinius and Damasippus in 
 the early part of this same satire. 
 
 In connection with parody, the following cases should be con- 
 sidered where a contrast, less prominent but none the less intended, 
 occurs between short elevated passages and a conversational set- 
 ting. These elevated passages frequently shade into the parodic 
 and poetic. 
 
34 The Poetic Element in the 
 
 Sat. 2, 2, 40 f., at vos | praesentes, austri, coquite horum 
 obsonia. Note the mock solemnity of the invocation, and com- 
 pare the familiar coquite. 
 
 Sat. 2, 8, 61 IF., hen, Fortnna, quis est crudelior in nos | te 
 dens : ut semper gaudes inludere rebns | humanis. Sat. 2, 5, 
 101 f., ergo nunc Dama sodalis | nusquam est? unde mihi tarn 
 fortem tamque fidelem? 
 
 In Sat. 2, 3, 288 ff., note the elevated setting of the mother's 
 prayer as contrasted with its content : luppiter, ingentis qui das 
 adimisque dolores | . . . . frigida si puerum quartana reliquerit, 
 illo I mane die quo tu indicis ieiunia nudus | in Tiberi stabit. 
 
 Sat. 2, 6, 65 : o noctes cenaeque deum. A playful reference to 
 the frugal, but satisfying fare of his country home. Cf. vs. 50 : 
 frigidus a rostris manat per compita rumor ; vs. 86 f., cupiens 
 varia fastidia cena | vincere taugentis male singula dente superbo. 
 
 Sat. 1, 5, 102 f., nee siquid miri faciat natura deos id | tristis 
 ex alto caeli demittere tecto. Here immediately Horace ends 
 the satire with the abrupt : Brundisium longae finis chartaeque 
 viaequest. 
 
 Sat. 1, 2, 119 : namque parabilem amo Venerem facilemque. 
 Note the nasal assonance and fine caste of a line occurring in a 
 passage which by reason of its coarseness generally goes without 
 annotation. 
 
 Sat. 2, 3, 87 : frumenti quantum metit Africa. Observe the 
 poetic touch in personification and in the use of the verb meto in 
 a transitive sense. 
 
 Sai. 1, 7, 21 : in ius [ acres procurrunt. Cf. vs. 24 f., solem 
 Asiae Brutum adpellat stellasque salubris | adpellat comites. Sat. 
 1, 5, 8 : ventri indico bellum. 
 
 The ludicrous eifect is frequently heightened by withholding 
 the conversational element until the end of sentence or clause. 
 
 Sat. 2, 5, 109 f., sed me [ imperiosa trahit Proserpina : vive 
 valeque. A good example is Sat. 2, 5, 14 : ante larem gustet 
 venerabilior lare dives. Sat. 2, 3, 16 f., di te, Damasippe, de- 
 aeque | verum ob consilium donent tonsore. Sat. 1, 3, 87 : cum 
 tristes misero venere calendae. 
 
Satires and Epidles of Horace. 35 
 
 ELEVATED PASSAGES. 
 
 In the course of this investigation I liave collected a number 
 of elevated citations, some of which shade into the poetic. I 
 shall cite a few of these Avithout comment. 
 
 Sat. 2, 3, 222 f., quem cepit vitrea fama, | hunc circumtonuit 
 gaudens Bellona cruentis. 
 
 Many are found in the genial elegance of the epistles. Epp. 1, 
 7, 10 if. : quodsi bruma nivis Albanis inlinet agris, | ad mare 
 descendet vates tuns et sibi parcet | contractusque leget : te, dulcis 
 amice, reviset | cum zephyris, si concedes, et hiruudine prima. 
 Here, inasmuch as it opens in the form of an epistle, may be cited 
 Sat. 1, 6, 4 : olim qui magnis legionibus imperitareut. Cartault 
 notes : style noble rappellant Lucrece et Ennius. 
 
 As we should expect, perhaps more of this feature is discernible 
 in the epistle to Augustus (2, 1) than in any other. The entire 
 introductory passage of twenty -seven lines might be quoted ; also 
 vss. 132-138 ; for instance vs. 26 f., annosa volumina vatum | 
 dictitet Albano Musas in monte locutas. Mark the elegant de- 
 scription of early rural simplicity, with its characteristic Fescennina 
 licentia, vss. 139-150. 
 
 Vss. 156 f, Graecia capta ferum victorem cepit et artis | intulit 
 agresti Latio. Note in vss. 190 if., the rapid and mocking lines 
 descriptive of the new complexion of the drama : dum fugiunt 
 equitum turmae peditumque catervae ; | mox trahitur manibus re- 
 gum fortuna retortis, | esseda festinant, pilenta, petorrita, naves, | 
 captivum portatur ebur, captiva Corinthus. 
 
 Vss. 216 ff. : curam redde brevem, si munus Apolliue dignum | 
 vis conplere libris et vatibus addere calcar, | ut studio maiore 
 petant Helicona virentem. 
 
 In accordance with Horace's own dictum, A. P. 45 if., we 
 observe many passages where the elegance turns upon the felicitous 
 choice of a word or brief phrase. Such passages are found in 
 most of tlie categories cited. The following are good examples. 
 
 Epp. 1, 10, 26 f., non qui Sidonio contendere callidus ostro 
 
36 The Poetic Element in the 
 
 nescit Aquinatem potantia vellera fucum. Sat. 2, 1, 61 f., maio- 
 runi nequis amicus | frigore te feriat. Epp. 1, 18, 103 : an 
 secretum iter et falleutis semita vitae. Epp. 1, 1, 51 : cui sit 
 condicio diilcis sine pulverc pabnae. Sat. 2, 6, 67 if. : prout cuique 
 libidost I siccat inaequalis calices con viva solutus | legibus insauis, 
 seu qiiis capit aeria foHis \ pocula seu modicis iuvescit laetius. 
 Epp. 1, 16, 11: dicas adductum propiiis frondere Tarentum. 
 Mark the personification in Ej^p. 1, 11, 15: nee si te validus 
 iactaverit auster in alto. Ejyp. 1, 2, 6 f., fabula, qua Paridis 
 propter narratur amorem | Graecia barbariae lento collisa duello. 
 Sat. 1, 6, 28 : et latum demisit pectore clavum. Epp. 2, 1, 225 : 
 tenui deducta poemata /z^o. 
 
 POETIC KEMINISCENCE. 
 
 This study would be incomplete without some attention to poetic 
 reminiscence, of which there is so much in Horace. Under this 
 head I have made very large use of the editions which have 
 generally given more attention to this phase of the subject than 
 to any other. 
 
 As would be expected there is more reminiscence of Homer than 
 of any other Greek poet (poet in the sense of this investigation). 
 Homeric reminiscence has been treated for the odes and epodes by 
 A. Paskiewicz,^ and more generally by J. Tolkiehn.^ It is fre- 
 quently difficult to say whether a given example should be classed 
 here or under parody, just as no full conception of the extent of 
 Homeric reminiscence in Horace is obtainable if the parodic side 
 be ignored. The following examples therefore should be carefully 
 compared with those cited under Parody. 
 
 We shall note first actual translations. Epp. 1, 2, 19 ff., is a 
 free translation of the first five lines of the Odyssey : qui domitor 
 Troiae multorum providus urbis | et mores hominum inspexit la- 
 tumque per aequor, | dum sibi, dum sociis reditum parat, aspera 
 multa I pertulit, adversis rerum immersabilis undis. 
 
 ^ De Horatio Homeri Imitatore, Lemberg, 1888. 
 ^ Homer und die romi^cM Poesie, Leipzig, 1900, 
 
Satires and Epidhs of Horace. 37 
 
 Another translation of the opening lines of the Odyssey occurs 
 in A. P. 141 f., die mihi, Musa, virum, captae post moenia 
 Troiae I qui mores hominuni mnltorum vidit et urbis. 
 
 Note a paraphrase in Epp. 1, 7, 41 ff. : non est aptus eqnis 
 Ithace locus, ut neque plan is | porrectus spatiis nee multae i)ro- 
 digus herbae : | Atride, magis apta tibi tua dona relinquam. Cf. 
 Odyss. 4, 601 If. : rTTTroi"? S' ew 'IdaKi^v ouk a^ofxai, aXka aoX 
 avru) I iv6dSe Xeiyfrco ayaX/Jia • av yap irehtOLO avdcra-ei,^ | evpeo'i, 
 iv 8' 'Wdicr} ovT dp Spofxoc evp€e<; ovTe tl Xeifxwv. 
 
 In A. P. 137 we have a single line translated from a cyclic 
 poet : fortunam Priami cantabo et nobile bellum. 
 
 The relation of Horace to Homer can best be appreciated by 
 observing his ontliue of his reading of that author addressed to 
 LoUius in the second epistle of the first book. The outline occupies 
 a considerable portion of the epistle. The opening verses may be 
 quoted : 
 
 Troiani belli scriptorem, Maxime LoUi 
 
 dum tu declamas Ilomae, Praeneste relegi : 
 
 qui qnid sit pnlchrum, quid turpe, quid ntile, quid non, 
 
 planius ac melius Chrysippo et Crantore dicit. 
 
 cur ita crediderim, nisi quid te distinct, audi. 
 
 In the following there is strong suggestion of definite Homeric 
 phraseology. 
 
 Sat. 2, 3, 191 : di tibi deut capta classem redducere Troia. 
 Cf. II. 1, 18 f., vfilv iiev deal Solev 'OXvfiTna Scofiar exovre; \ 
 eKirepaaL Upcdfioto ttoXlv, iv 8' oiKaS' l/ceadaL.^ 
 
 Sat. 2, 3, 195 : gaudeat ut populus Priami Priamusque inhu- 
 mato, — is almost a translation of 11. 1, 255, though the subject 
 matter differs : ^ k€v <y'q6r]aaL IlpiaiJio<i UpLafj-oio re TratSe?. 
 
 Sat. 1, 2, 32 : inquit sententia dia Catonis. Cf. such well- 
 know^n Homeric phrases as fiJ)vc<i 'A%iX>}o<? and k TeXefxdxoto. 
 
 Sat. 2, 1, 26 f.. Castor gaudet equis, ovo prognatus eodem | 
 pugnis. Cf. It. 3, 237 : Kdaropd 6' iTrirdSafMOV koI ttv^ ayaOov 
 TIoXvSevKea. 
 
 ' See Tolkiehn, 1. c, p. 47, note 1. 
 
38 The Poetic Element in the 
 
 Sat. 2, 5, 18 f., hand ita Troise | me gessi, certans semper meli- 
 oribus. Wickbam^ following Palmer, thinks it probable that we 
 here have an Homeric echo. Cf. II. 21, 486 : Kpeiaa-oaiv i(f)t 
 fid)(^€aOaL. 
 
 Epp. 1, IS, 71 : et semel emissum volat inrevocabile verbum. 
 Cf. II. 4, 350 : TTolov ae eiro'i cfivyev epKo<i ohovroov. Cf. also A. 
 P. 390 : nescit vox missa reverti. 
 
 Epp. 2, 2, 41 f., atque doceri | iratus Grais quantum uocuisset 
 
 Achilles, Cf. II. 1, 1 ff., h-yjvlv aeihe, rj /xvpC 'A^atoZ? 
 
 aXye' eOrjKe. 
 
 A. P. 120 if. : houoratum si forte reponis Achillem, | inpiger, 
 iracundus, inexorabilis acer | iura neget sibi nata. Note the trans- 
 lation of Homeric epithets.^ AVith honoratus cf. ayavd';, /cXuro'?. 
 For iracundus, acer see II. 20, 467 f., ov <ydp re <yXvKv$vp,o<i avrjp 
 fjv ov8' ayavoc^puiv, | aWa /xdX' e/ji,/ji6iJ.ad)<;. Impiger recalls the 
 words of Achilles himself in //. 1, 165 f, dWa ro jxev irkelov 
 'iro\vdlKO<i TToXe/jLoio | ')(^eipe<; ifial Bierrova. For inexorabilis see 
 11. 11, 636. The words iura neget sibi nata suggest II. 1, 295 f., 
 dWoKTLv Srj TavT eVtreXXeo, /xr] yap ifxoL <ye I aTjfxaiv'- ov yap 
 iyco 7' €Ti aoL irelcreaOai otco. 
 
 Sat. 2, 3, 213 : et purum est vitio tibi cum tumidum est cor? 
 Orelli regards this verse as an Homeric echo. Cf. II. 9, 646 : 
 aWa fjLOL oiSdverac Kpahirj '^dXa>, 
 
 Sat. 2, 3, 193 : Aiax, heros ab Achille secundus. Cf. II. 2, 768 
 f., dvSpcov av fiiy dpiaro^; eijv Te\afi(ovio<i At'a? j o^/a' ^A^iXev^ 
 fir)VLev ' yap ttoXv (pe'praro^ -qev. 
 
 Sat. 1, 3, 26 f., cur in amicorum vitiis tam cernis acutum | 
 quam aut aquila aut serpens Epidaurius? Cf. //. 17, 674 f., m? 
 Tatero<i, bv pd re ^aaiv | o^vrarov SepKeaOai inrovpavLcov TreTerjvSiv. 
 
 Sat. 2, 3, 197 : inclutum Ulixeu. Fritzsche notes that inclutus 
 is dira^ elp. for Horace. Here he believes it represents the frequent 
 Homeric epithet SovpiKXvro^;. 
 
 Epp. 1, 2, 39 : est animum. Cf. II. 6, 207 : ov Ovjxov KareBcov. 
 See also Cicero's translation, Tusc. 3, 63 : ipse suum cor edens. 
 
 ^ Interesting is the comparison of these epithets in Roman literature ; see Diehl 
 in the Thesaurus, s. v. Achilles. Those from Homer are collected in Roscher's 
 Lexicon. 
 
Satires and Epistles of Horace. 39 
 
 With respect to the Odyssey we will cite first from Sat. 2, 5, 
 which draws largely from the Ne/cuta.^ 
 
 Sat. 2, 5, 1 f., Hoc quoqne, Tiresia, praeter narrata petenti | 
 responde. Cf. Odyss. 11, 1 40 : aXX' ar^e (jlol toSc elnre koX UTpe- 
 K€(0(; KaraXe^ov. Verse 2 f. has in mind the loss of ships and 
 companions, and the state of affairs at home; see Odyss. 11, 112, 
 and compare vs. 6 : nudus inopsque. Dolosus of vs. 3 suggests 
 the standing epithets TroXu/iT/^ayo?, TroXv/jbrjTi'i, 7roiKi\ofi'qTi]<;, etc. 
 
 Vs. 4 f., non satis est Ithacam revehi patriosque penatis | aspi- 
 cere? Cf. Odyss. 1, 58 f., lefi€vo<; koI Kairvov airodpcoaKOVTa 
 vorjaai | ^? <yair]<i daveeiv Ifiecperai. 
 
 Epp. 1, 2, 25 : turpis et excors, is cited by Lambinus as an 
 echo of Odyss. 10, 301 : KaKov koI avr^vopa. 
 
 Sat. 2, 6, 40 : septimus octavo propior iam fugerit annus. Cf. 
 Odyss. 2, 89 : ijSr} ryap rplrov earlv era, Tci'^^a 8' eiat reraprov. 
 
 Owing to its subject we find in Epp, 1, 2 much mention of 
 Homeric themes taken alike from the Iliad and Odyssey. In vss. 
 9 we have a reference to Antenor's effort to close the war by the 
 return of Helen ; in vs. 10 the refusal of Paris with the com- 
 mentary of Horace upon II. 7, 362 : avriKpm S' cnro^T^piL, jvvaiKa 
 fiev ovK airoStoa-Q). With vs. 20 : latumque per aequor, cf. II. 2, 
 159 : eV evpea vcara 0a\daar]<i. Odyss. 4, 313. With vs. 27 : 
 fruges consumere nati, cf. II. 6, 142 : el 8e rt? eaai ^porwv, o? 
 apovpr]<i tcapirov eSovaiv. 
 
 In his reference to Circe, vs. 24 : sub domina meretrice fuisset 
 turpis et excors, Horace departs from Odyss. 10. 240 : avrap i/oO? 
 ^v e/A7re8o9, m to irdpa irep. Other references are to Nestor,^ 
 vs. 11 f. ; to Ulysses,^ vs. 19 if. ; to the Sirens,^ vs. 23 ; to Alci- 
 nous ^ and the suitors of Penelope, vs. 28 ff. 
 
 In Sat. 1, 8, Horace again draws upon the 'Ne'/cvLa. Vs. 26 ff. : 
 scalpere terram | unguibus et pullam divellere mordicus agnam | 
 coeperunt : cruor in fossam confusus, ut inde | manis elicerent 
 animas responsa daturas. Cf. the Odyss. 11, 35ff. : ra 8e ixrjXa 
 Xa^mv airehetpoToiirjcra | eV ^odpov, pee 8' alfxa K€\aiV€(f)e<; • ai S' 
 
 » See Tolkiehn, 1. c, p. 140 f. Ul 1, 247 ff. ; /L 1, 113 i?. 
 
 s Odyss. 1, 2 ff. * Odyss. 12, 39 ff., and 166 ff. 
 
 6 Odyss, 8, 248 ff. 
 
40 Tlie Poetic Element in the 
 
 ayepovTO | 'v^v;j^ai vTref ipefiev^ veKvoov KaraTeOvr^wTCOv. Vs. 41 : 
 
 umbrae resouarint triste et acutum. Cf. Odyss. 24. 5 : 
 
 ral he Tpi^ovaai eirovro. 
 
 Epp. 1, 6, 63 f., remigium vitiosum Ithacensis Ulixi, | ciii potior 
 patria fuit interdicta voluptas. Cf. Odyss. 12, 271 if. 
 
 In many brief references Homer serves as a book of texts for 
 didactic treatment, so that we may class generally and broadly 
 under epic and mythical content. Some of these epic characters 
 appear so frequently in subsequent literature as to make it impos- 
 sible to say whether Horace went back even in thought to Homeric 
 originals. See the allusions to Proteus, Sat. 2, 3, 71 ; Tantalus, 
 Sat. 1,1, QS; Sisyphus, Sat. 2, 3, 21; the Harpies, Sat. 2, 2, 
 40 ff. ; Telephus and Peleus, A. P. 96 ; Lynceus, Epp. 1, 1, 28 ; 
 Antipliates, Polyphemus, Scylla and Charybdis, Diomedes and 
 Meleager, A. P. 145 fP. 
 
 Epp. 1, 1, 1, prima dicte mihi, sumnia dicenda Camena. Cf. 
 
 Hymn to Apollo, 21, 3 f., ere 8' aoiSd<; ■^SucTrr/? irpSiTov 
 
 re Koi vararov alev aeiSet. The thought, however, occurs else- 
 where. Cf. Theoc. 17, 3 ; Verg. Ed. 8, 11. 
 
 A probable reminiscence of Hesiod appears in Sat. 1, 9, 59 f., 
 nil sine magno | vita labore dedit mortalibus. Cf. Hesiod, Op. 
 289 : ri]^ 8' aperrj^ ISpcora 6eol irpoTrdpoiOev eOrjicav. 
 
 Epp. 1, 6, 65 f., si, Mimnermus uti censet, sine amore iocis- 
 que I nil est iucuudum, vivas in amore iocisque. We have here 
 the sense of Mimnermus, frag. 1 : rt? he l3io<;, tl he repirvov cirep 
 'X^pvarj'i ''Acfipohirrj'i. 
 
 With A. P. 63 : debemur morti nos nostraque, cf. Simonides, 
 frag. 123, Bergk : Oavdro) Trayre? oc^eCkojieOa. 
 
 Ep)p. 1, 18, 76 ; qualem commendes etiam atque etiam adspice. 
 Cf. Theognis 963 : p.rjiroT iTraiv^crrj^, irpXv dv elhrj^ dvhpa 
 (7a(}>rjV€Q}'i . 
 
 Epp. 1, 12, 4 ff. : pauper enim non est cui rerum suppetit 
 usus. I si ventri bene, si lateri est pedibusque tuis, nil | divitiae 
 poterunt regales addere mains. Cf. a fragment variously cited 
 from Theognis and Solon ; ^ see Bergk, Solon 24 : laov rot irXov- 
 
 ' The evidence favors Solon ; see Plut. vit. Sol., c. 2. 
 
Satires and Epistles of Horace. 41 
 
 Tovatv, orw ttoXis ap<yvp6<i ecrnv | koX xP^'^^^ '^^'' 7*7? irvpo^opov 
 irehia I Xiriroi d^rifiLOVOi re, Kal c5 fjbova ravra irdpearLV | <ya<npi 
 re Kal TrXeup^? koI ttoo-Iv a^pa iradelv. 
 
 Epp. 1, 1, 46 : per mare pauperiem fugicns, per saxa, per ignis. 
 Cf. Theognis 175 f., riv Stj (irevL-nv) XRV (fievyovra Kal e? jSaOvKrjTea 
 TTOvrov I piTTTeiv, Kal Trerpecov, Kvpve, Kar rfki^dTwv. 
 
 Sat. 1, 1, 106 : est modus in rebus. For the thought, see Pin- 
 dar, 01. 13, 47 : eTrerai. 8' eV eKaaTw jxerpov. Sat. 1, 3, 56 : atque 
 sincerum cupimus vas incrustare. Epp. 1, 2, 54: sincerum est 
 nisi vas. Cf. Find. 01. 1, 26 : KaOapov Xe/ST/TO?. 
 
 Without pausing to discuss the general discussions of tragedy in 
 the Ars Poetica, we will cite several reminiscences of particular 
 passages.^ 
 
 Epp. 1, 6, 36 if. : scilicet uxorem cum dote fidemque et amicos | 
 et genus et formam regina Fecuuia donat | ac bene nummatum 
 decorat Suadela Venusque. This passage is as Kiessling notes a 
 free putting of Soph. Aleadae, frag. 86, Nauck : ra xPVH'f^T' 
 avOpwiroLaLV evpiaKet (f)L\ov<i, | avOi^ Se Tiixd<i, elra rr)? vTreprd- 
 
 tt;? I TvpavvtSo'i OaKovacv alcrx^arrjv eSpav. | ttXouto? 
 
 Kal yap SucreiSe? aoiixa Kal Bvad)vvfiov | yXcoaar] ao(f)OV 
 
 TiOrjatv evp-op^ov rlSelv. 
 
 Ejjp. 1, 6, 24 f., quidquid sub terra est, in apricum proferet 
 aetas, | defodiet condetque nltentia. Cf. Soph. Aiax, 646 f., diravd^ 
 6 fiaKp6<i K avapiOixr^TO^ ;^/30j'0«? | <^u€t t' dSrjXa Kal (fyavevra 
 KpvTrrerai. 
 
 Sat. 1, 1, 99 f., at hunc llberta securi | divlsit medium, fortis- 
 slma Tyndaridarum. Cf. Soph. Electra 97 ff., Mrvp 8' VM X^ 
 
 KOLVOkexh'i I "AyL(Tdo<;, OTTft)? SpVV vkOTOp^Ot, \ (TX^^OVai Kdpa <^OVL(p 
 
 ireXeKei. 
 
 Sat. 2, 5, 5 : o nulli quicquam mentite. Cf. Soph. Oed. Tyr. 
 299 : raXi^dh e/iTrec^u/cei; avOpwirwv fiovw. Cf. also Aniig. 1092 if., 
 
 eTnard/JieaOa S" fi^ ttco ttot avrov -v/reOSo? e<? ttoXlv 
 
 XaK€iv. 
 
 In Epp. 1, 18, 41 if. Horace has evidently the Antiope of Euri- 
 pides in mind; see Nauck 184 and especially 188. 
 
 * One of the best, the reminiscence of Eurip. Alkest. 784 ff. in Sat. 2, 6, 93 ff., 
 has been cited under parody ; see p. 32. 
 
42 The Poetic Element in the 
 
 Epp. 2, 2, 178 f., si metit Orcus | graudia cum parvis. Cf. 
 Eui'ip. Hypsipyle, Nauck 757 : avayKaco}'; S'e%ei fiiov Oepi^eiv 
 QXTTe KapTTLfJiOV (Tjd'yyv. 
 
 Epp. 1, 16, 73 ff., is a paraphrase of Eurip. Bacch. 492 ff. : 
 
 ' Pentheu, 
 rector Thebarum, quid me perferre patique 
 indignum coges ? ' ' adimam bona.' ' nempe pecus, rem, 
 lectos, argeutum. tollas licet.' ' in mauicis et 
 compedibus saevo te sub custode tenebo.' 
 ' ipse deus, simul at que volam, me sol vet.' 
 
 AI e^^' OTL iraOelv hel • tC fxe to heivov epydaei ; 
 
 HE. TrpcoTOv fiev a^pov j36arpv')(^ov reixo) aeOev. 
 
 AI. lepb^ 6 TrXoKa/xo^ • ru) $e(p S^avrov Tpe(f)(i) • 
 
 TIE. eirura Ovpcrov rovhe irapaSo^ Ik ')(epolv. 
 
 AI. avr6<i fJL a<f>aLpov • rovhe Aiovvaov (popco. 
 
 HE. elpKTalai Tevhov acofia crov (f)v\d^ofxev. 
 
 AI. \v(T€i fx 6 SaL/xcov avTo^i, orav ijo) 6e\a>. 
 
 Epp. 1, 1, 34 f., sunt verba et voces, quibus hunc lenire dolo- 
 rem | possis et magnam morbi deponere partem. Cf. Eurip. 
 Hippol. 478 f., elcrlv h^eirwhaX koI XoyoL OeKKTripioL • | (pavr^crerai 
 Ti rrjahe cfidpfMaKov voaov. 
 
 Epp. 2, 1, 32 : venimus ad summum fortunae. Cf. Eurip. 
 Antig., Nauck, frag. 169: eir aKpav ^KOfxev ypap.fi'qv kukmv. 
 For the thought cf again Epp. 1, 16, 78 ; Eurip. Electra 945. 
 
 In some few other cases Horace employs tragic material, draw- 
 ing his examples largely from Sophocles and Euripides. Sat. 2, 
 3, 132 ff. centers about the Orestes story. A. P. 185 ff. cites 
 Medea, Procne, Atreus, and Cadmus. Cf A. P. 123 f , sit Medea 
 ferox invictaque, flebilis Ino, | perfidus Ixion, lo vaga, tristis 
 Orestes. 
 
 Sat. 2, 3, 303 f., ' quid ? caput abscissum manibus cum portat 
 Agaue I gnati infelicis. sibi tum furiosa videtur?' Cf. Eurip. 
 Bacch. 1139 ff.; 1277; 1280; 968.^ 
 
 ' For further reminiscence of Euripides, see under parody, p. 32. 
 
Satires and Epistles of Horace. 43 
 
 A few small phrases are suggestive of Theocritus, though not 
 convincing. 
 
 Epp. 2, 2, 51 f., paupertas inpulit, audax ut versus facerem. 
 Cf. Theoc. 21, 1 : a irevia fiova ra^ Texva<; iyeipCL. The thought, 
 however, is common enough; see Plaut. Stich. 178. 
 
 Sat. 1, 1, 4: gmvis annis, recalls Theoc. 24, 100: Tetpeo-ia? 
 TToWolaL fiapjk irep ewv ivLavToif. 
 
 Sat. 1, 7, 26: invisum agricolis sidus. Cf. Theoc. 25, 168: 
 KUKov re/aa? ajpoicorai^. Sat. 2, 3, 135 : malis furiis. Cf. Theoc. 
 2, 136 : KaKal<; pLavLaL<i. 
 
 Sat. 1, 4, 89 : condita cum verax aperit praecordia Liber. Cf. 
 Theoc. 29, 1 : Oho^, w (f)L\e iral, Xejerac Kal akddea. Cf. 
 Alcaeus, frag. 53 (Bergk), olva yap avdpdmoLaL hiOTrrpov. Theog. 
 500 : avhp6<i S'oho'i e8ei|e voov. 
 
 Many examples are cited by Fritzsche, who, however, bemg the 
 editor of both authors is inclined to attach too much importance 
 to parallels. 
 
 Sat. 1, 10, 33 : post mediam noctem visus, cum somnia vera. 
 Cf. Moschus 1, 2f., vvKTO^ ore Tpirarov Xdxo'i la-raraL, iyyvOt 
 §'77(09, I evTC Kol arpeKecov TroLfiaLveraL edvo<i oveipcov. 
 
 In Sat. 1, 2, 105 If., Horace employs Callimachus Epig. 31 : 
 
 leporem venator ut alta 
 in nive sectetur, positum sic tangere nolit, 
 cantat, et adponit ' mens est amor huic similis : nam 
 trausvolat in medio posita et fugientia captat.' 
 
 'Q.ypevTrj<i, 'ETTi'/cuSe?, eV ovpeai TrdvTa Xaycoov 
 S(0a Kal TracTT;? cx^i-a 8opKa\L8o<;, 
 artfiy Kal vi^erw /ce^pTj/^eVo? • rjv Be T19 eLirrj 
 V77, To'Se jBejSXrjTaL dr^piov , ovk eXa/Sev. 
 yovjxo'i €pco<; ToloaSe ' to, fiev (fievyovra SiooKeLP 
 olSe, TO, B'iv fxeaaa) Keifieva TrapTrerajai. 
 
 Sat. 1, 4, 11 : cum flueret lutulentus, erat quod tollere velles. 
 Cf. Sat. 1, 10, 50 f., at dixi fluere hunc lutulentum, saepe feren- 
 tem 1 plura quidem tollenda relinquendis. Thus Callimachus of 
 his enemy Apollonius, in Apoll. 108 f., ' Aaavpiov iroTafioio /teya? 
 
44 The Poetic Element in the 
 
 poo<i • aXXa ra ttoWo. | Xvfxara 7779 Kal ttoWov e^' vSari crv^i(^erdv 
 eXicet. 
 
 Epp. 1, 7, 44 : parvum parva decent. Orelli compares Callim. 
 Epig,, frag. 179 : alel toI<; ^iCkkol'; iXLKKa SlSovctl deoC. 
 
 Let us turn to the Latin poets. Here clear cases of remi- 
 niscence are not so numerous. 
 
 According to Porphyrio, and Servius on Verg. 7, 622, we have 
 in Sat. 1, 4, 60 f., a citation from Eunius (Vahlen A. 266). 
 Compare the other reminiscence cited under parody, p. 31. 
 
 Sat. 2, 1, 42 f., o pater et rex | luppiter, ut pereat positum 
 robigine telum. Foremost in the mind of Horace was probably 
 Catul. 66, 48 : luppiter, ut Chalybon omue genus pereat. The 
 Catullus passage may be a reminiscence of Callimachus Epig. 
 frag. 35 c (Schneider) : XaXv^cov &)? airoXotTO yevo'i. Cf. Theog. 
 894 : ft)9 8rj J^v\fr€\i8e(ov Zeu? oXeaeie ^evo<i. 
 
 Epp. 2, 1, 270 : et piper et quidquid chartis amicitur ineptis. 
 Cf. Catul. 95, 7 f., at Volusi annales Paduam morientur ad 
 ipsam I et laxas scombris saepe dabunt tunicas. 
 
 In Sat. 1, 3, 99 ff., Horace essays in a strong passage to repro- 
 duce the philosophy of Lucretius 5, 795 if., a few extracts may be 
 compared. 
 
 Vs. 100 : glandem atque cubilia propter. Cf. Lucret., vs. 
 939 f., glandiferas inter curabant corpora quercus | plerumque. 
 Cf. esp. Juvenal 6, 10 : et saepe horridior glandem ructcnte 
 marito. 
 
 Vs. 99 : cum prorepserunt primis animalia terris. Cf. Lucret., 
 vs. 932 : volgivago vitam tractabunt more ferarum. With cubilia, 
 vs. 100, cf Lucret., vs. 970, where is described the rude couch 
 of leaves, the only resting place of primitive man. 
 
 Vss. 101 f., unguibus et pugnis, dein fiistibus, atque ita porro | 
 pugnabant armis. Cf. Lucret., vs. 1283 f., arma antiqua manus 
 ungues dentesque fuerunt | et lapides et item silvarum fragmina 
 rami. 
 
 Vss. 103 f., donee verba, quibus voces sensusque notarent, | 
 nomina invenere. Cf. Lucret., vss. 1087 ff. : ergo si varii sensus 
 animalia coguut, | muta tamen cum sint, varias emittere voces, | 
 quanto mortalis magis aecumst tum potuisse | dissimiles alia atque 
 
Satires and Epistles of Horace. 45 
 
 alia res voce iiotare? Cf. also vs. 1058: pro vario sensu varia 
 res voce notaret ? 
 
 Vs. 105: oppida coepenmt mimirc. Cf. Lucret. 1108 : coudere 
 coeperuut iirbis arceinquc locare. 
 
 Sat. 1, 1, 1171f. : inde fit, ut raro, qui se vixisse beatum | 
 dicat ct exacto coutentus tempore vita | cedat uti conviva satur, 
 reperire queamus. Cf. Lucret. 3, 938 f., cur uou ut plenus vitae 
 couviva recedis, | aequo animoque capis securam, stulte, quietem? 
 Cf. also Lucret. 3, 959 f. 
 
 Sat. 1, 8, 46 : displosa vesica, is a possible reminiscence of 
 Lucret. 6, 130 : cum plena animae vesicula parva | saepe ita det 
 torvum sonitum displosa repeute. See the notes of Wickham and 
 Kiessling. 
 
 Sat. 1, 6, 4 : magnis legionibus imperitarent. Cf. Lucret. 3, 
 1028 : magnis qui gentibus imperitarunt ; a characteristic Lucre- 
 tian rhythm. 
 
 Sat. 1, 1, 13 : cetera de genere hoc. Orelli notes: "Transitus 
 est Lucretianus." Cf. Lucret. 4, 590; 4, 462; 5, 37; 5, 164. 
 
 Sat. I, 9, 24 : membra movere moUius. Cf. Lucret. 4, 789 ; 
 980 : mollia membra moventis. 
 
 Sat. 2, 2, 67 : dum munia didit; a Lucretiau word. See 
 Lucret. 2, 1136, 3, 245 ; 3, 707 ; 4, 240 ; 629 ; 955. 
 
BIBLIOGRAPHY. 
 
 The following were the principal editions and scholia employed : 
 
 Hauthal, F. Acronis et Porphyrionis Commentarii in Q. 
 Horatium Flaccum, vol. 2. Berlin, 1866. 
 
 Keller and Holder. Quinti Horati Flacci Opera Omnia. Leip- 
 zig, 1869. 
 
 Bentley, R. Third Edition. Berlin, 1869. 
 
 Fritzsche, A. T. H. Des Q. Horatius Flaccus Serraouen. 
 Leipzig, 1875. 
 
 Keller, O. Epilegomena zu Horaz. Leipzig, 1880. 
 
 Schiitz, H. Satiren. Berlin, 1881 ; Episteln. Berlin, 1883. 
 
 Kiessling, A. Q. Horatius Flaccus' Briefe. Berlin, 1889. 
 
 Wickham, E. C. Quinti Horati Flacci Opera Omnia, vol. ii. 
 Oxford, 1891. 
 
 Orelli-Mewes. Q. Horatius Flaccus, vol. ii. Berlin, 1892. 
 
 Mueller, L. Satiren und Episteln des Horaz. I Theil : Satiren. 
 Wien, 1891. II Theil : Episteln. Wien, 1893. 
 
 Keller and Holder. Scholia Antiqua in Q. Horatium Flaccum. 
 Innsbruck, 1894. 
 
 Kiessling, A. Q. Horatius Flaccus' Satiren. Zweite Auflage. 
 Berlin, 1895. 
 
 General Works. 
 
 Ribbeck, O. Geschichte der romischen Dichtung. Stuttgart, 
 1889. 
 
 Schanz, M. Geschichte der romischen Litteratur. Zweite 
 Auflage. Miinchen, 1899. 
 
 Sellar, W. Y. Horace and the Elegiac Poets. Oxford, 1892. 
 
 Teuffel. History of Roman Literature. Translation of Geo. 
 C. W. Warr. London, 1891. 
 46 
 
Bibliography. 47 
 
 , 1 
 
 Special Treatises. 
 
 Aue, A. De Q. Horatii Flticci ingenio poctico nioribusque 
 ingenuis. Vindobonae, 1870. 
 
 Backer. Die Metaphern iu den Satircn des Horaz. Pro- 
 gramm. StraLsuud, 1883. 
 
 Beste, G. De generis dieendi inter Horatii carmina sermo- 
 nesque discrimine. Monasterii, 1876. 
 
 Brand, E. Intersitne aliquid inter Q. Horatii Flacci satiras et 
 eiusdem epistolas, et quid id sit, quaeritur. Czernowitz, 1874. 
 
 Buys. Horaz und die Natur : ein Beitrag zur Untersuchung 
 iiber das Natnrgefiihl der Alten. Prograram. Bonn, 1872. 
 
 Cartault, A. fitude sur les Satires d'Horace. University de 
 Paris. Bibliotheque de la Facult6 des Lettres. ix (1899). 
 
 Hauna, F. Ueber den apologetischen Charakter der horaz- 
 ischen Satiren. Programm. Nikolsburg, 1878. 
 
 Hawrlaut, F. Horaz als Freund der Natur nach seinen 
 Gedichten. Landskron, 1895-96. 
 
 Hendrickson, G. L. Are the Letters of Horace Satires ? A. 
 J. P. xviii (1897), p. 313 flP. 
 
 Reisackcr, A. J. Horaz in seinem Verhaltniss zu Lucrez und 
 in seiner Kulturgeschichtlichen Bedeutung. Breslau, 1873. 
 
 Tolkiehn, J. Homer und die romische Poesie. Leipzig, 1900. 
 
 Waltz, A. Des Variations de la Langue et de la M^trique 
 d'Horace dans ses Diflferents Ouvrages. Paris, 1881. 
 
 1 Nothing can be cited of direct bearing upon the subject except a few pages in 
 the article of Cartault. In the subjoined treatises, however, several related 
 themes are discussed. 
 
LIFE. 
 
 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, has imposed 
 a lasting sense of gratitude. 
 
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