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295-304. Horace

chorus in their parts; hence exhibit or compose a play, by which latter word we may here translate. 293. Litura. See n. Sat. i., 10, 72. 294. Perfectum; agrees with quod; "ita ut perfectum sit." Dillenb. -Ad unguem. See n. Sat. i., 5, 32. proceeds to ridicule those poets who affect to despise art and rely solely upon genius, and who, in their reliance upon genius, confound vulgar madness with poetic frenzy, and mere eccentricity with poetic genius. 296. Sanos; i. e. those who have not the true insania or furor-poeticus ; comp. n. O. iii., 4, 6. 297. Democritus; he wrote Teρi Tohσews and wept 'Oμhpov. Cicero alludes to his words in De Divin., i., 37; Negat sine furore Democritus quemquam poetam magnum esse posse; and also in De Orat., ii., 46: Saepe audivi poetam bonum neminem (id quod a Democrito et Platone in scriptis relictum esse dicunt) sine inflammatione animorum existere posse et sine quodam afflatu quasi furoris. Comp. Cic. pro Archia, c. 8. 300. Tribus; see n. Sat. ii., 3, 83. The poet here means that a case so desperate as this, would not be cured by all the produce even of three Anticyras; or, which is the same thing for the jest, by three times the amount of hellebore produced in Anticyra (in allusion to either of the two). 301. Licino. The Scholiast tells us, that this was the name of a barber, who was made a senator by Julius Caesar, because he hated Pompey. It must have been a different person from the slave of that name, who was freed by Julius Caesar, and afterwards was made procurator of Gaul by Augustus; mentioned by Dio. Cass., liv., 21. - 301. Laevus; = stultus, as in Virg. Ecl. i., 16; and Aen. ii., 54. -302. Bilem; comp. Epist. ii., 2, 137. - 304-308. Horace now, waiving all claim to the title and character of poet, assumes the office of a critic, and undertakes to teach what is necessary to the formation and guidance of the poet. Comp. Intr. 309-322. In opposition to the absurd notion he has just illustrated (in 295 seqq.) Horace insists upon good sense as essential to good writing (309); and recommends, in order to just views and exhibitions of character, the study of the Socratic or moral philosophy, and of human life (to 1. 318); adding, in practical illustration, that a poem, in which the manners are justly delineated, is always successful even if it have no other excellence (to 1. 322). -309. Sapere; a comprehensive word, which expresses the ability to think and judge aright on all subjects whatsoever (" recte cogitare atque judicare de omnibus rebus;" Orelli); without which no one can be a poet, whatever other gifts and acquirements he may have.

- 310. Socraticae-chartae; the teachings of Socrates; as embodied in the works of his disciples, e. g. Plato and Xenophon; in these moral teachings, the writer, especially the dramatist, may find his subjectmatter (rem); the best illustrations of all that belongs to character, of all the various relations and duties of men. 312. Qui didicit, etc. Here follows a mention of particular illustrations of the general word

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(rem); i. e. of particular relations and duties, of a citizen, a friend, &c. 314. Conscripti; sc. senatoris; from the expression patres conscripti. See Livy, B. II., c. 1. ·317. Exemplar vitae morumque; i. e. the model which the life and manners of men present to him who observes and studies them. -318. Vivas; life-like; caught from, and reflecting, real life. So Virg. Aen. vi., 849, vivos ducent de marmore vultus. 319. Morata recte; which rightly depicts the mōres; a different word from moratur, in 1. 321. 323-332. While the Greeks, animated alone by ambition, have excelled in letters, the education of the Romans has formed in them a love of money, which has been fatal to their success in poetry. 323. Ore rotundo; well-rounded expression; metaphorical for the highest, most perfect style of language; like the Gr. σтpoyyúλov στώμα, στρογγύλη λεξις (see Passow, and Liddell and Scott). 325. Rationibus. Calculations. 325. Dicat, etc. A scene from a Roman school.-In dicat the poet makes the teacher use the third for the second person; tell me, &c. Comp. O. i., 27, 10. 328. Poteras dixisse. The encouraging words of the master. On the tense dixisse, see n. O. i., 1, 4. - -332. Cedro. Manuscripts were rubbed with oil of cedar, for their better preservation.—Capresso; i. e. in capsae or scrinia, made of cypress. See n. Sat. i., 4, 21; and the cut on p. 204. 333-346. Poets aim either to instruct, or to delight, or both to instruct and delight (333, 334); they who aim to instruct, must study brevity (to 1. 337 inc.); they who aim to delight, must, in fiction, keep to what is probable (to 340 inc.); he who can unite the useful with the agreeable, will win all readers, he is the poet whose works will live (to 346). - 335. Cito; join with percipiant. -337. This line furnishes a reason why the didactic writer should aim at brevity. The image seems to be taken from a vessel, from which, when filled full, whatever else is poured in, flows away and is lost; so with the mind, when filled with instruction.. -339. Ne, etc. These two lines illustrate, negatively, the preceding rule; the former generally, the latter particularly. The subject of credi is in quodcunque.-Lamia is the name of a fabulous creature that was said to devour children. The Scholiast describes it thus: "est monstrum superne habens speciem mulieris, inferne vero desinit in pedes asininos." - 341. Centuriae seniorum; senes, the old; the expression is taken from the centuries of old men in the classes of the comitia centuriata, instituted by Servius Tullius. See Dict. Antiqq., under comitia. -342. Celsi-Ramnes; the haughty Ramnes; for the younger knights, and then for the young. The Ramnes, because the oldest of the three centuriae equitum (described by Livy, i., 13), here represent the young men of highest nobility. 343. Punctum; vote; i. e. the favor of every reader. See n.Epist. ii., 2, 99. O. iv., 1, 22. 345. Sosiis. See n. Epist. i., 20, 2.

Dulci; see n.

347-365. In

a poem of superior excellence, one or two blemishes are pardonable; but the

presence of one or two beauties cannot redeem a poem generally faulty (tol. 359); this truth is illustrated (to 1. 365) by a comparison of poetry with painting. 347. Ignovisse. See n. O. i., 1, 4. 352. Fudit; the word keeps up the metaphor in maculas. Comp. Sat. i., 6, 66. 354. Scriptor-librarius; the transcriber; the slave employed to copy books. See Becker's account of the librarii, in Gallus, p. 236. Idem; neut. acc. 357. Choerilus. See n. Epist. ii., 1, 233. 358. Idem. Nom. masc.; see n. O. ii., 10, 16. 359. Dormitat Homerus.

It is unnecessary to suppose that Horace had in mind any particular fault of Homer; he merely uses Homer as an example of a good poet. 361. Ut pietura. Perhaps the mention of Homer, and the thought of his graphic, picture-like poetry suggested this comparison of poetry with painting. So Cic. in Tusc. v., 39, says, in speaking of Homer: Traditum est etiam, Homerum caecum fuisse. At ejus picturam, non poesin, videmus. Quae regio, quae ora, qui locus Graeciae, quae species formaque pugnae, quae acies, quod remigium, qui motus hominum, qui ferarum, non ita expictus est, ut, quae ipse non viderit, nos ut videremus, efficeret? 364. Non formidat. The chief point in the comparison is, that the poem of high merit, the true poem, is that which will bear frequently repeated and the closest examination. 366-378. Having inculcated the necessity of excellence in poetry, the poet now shows the reasonableness of his doctrine: In such pursuits as are necessary to life, mediocrity is tolerated; but from poetry, which is not indispensable, but is intended to please, mediocrity is excluded. 367. Sapis; see above n. on 1. 308. -368. Tolle memor; lay up in your memory. 368. Consultus juris-actor. Illustrations of certis-rebus. On cons: juris, see n. Sat. i., 1, 9. 371. Messalae. See n. Sat. i., 10, 29. 371. Cascellius Aulus. A Roman jurist; mentioned by Valerius Maximus, 6, 2, 1, as vir juris civilis scientia clarus; as this mention of him belongs to the year B. c. 41, he must have been, if still living, at the time of this allusion, a very old man. 372. Mediocribus; on the construction, see n. Sat. i., 1, 19. 373. Columnae; the columns or pillars of the porticoes, under which were the booksellers' shops. See n. Sat i., 4, 71; i. e. the books of such poets are not worth (as we should say) the advertising, are unsaleable. 375. Sardo. The Sardinian honey was bitter. Roasted poppy-seed with honey was a favorite dish at the dessert of a Roman dinner. -379.-384. And yet many, entirely destitute of the requisite capacity, venture to write poetry. Comp. with this passage, Epist. ii., 1, 114-117.. -379. Campestribus; of the Campus Martius. Comp. nn. O. i., 8, 4 and 10. 381. Coronae; the ring; the crowd of spectators. 382. Nescit; sc. fingere. 383. Census; a participle; followed by summam, as a Greek accusative; see n. O. i., 1, 21. On equestrem summam, see n. Epist. i., 1, 38.- 385-407. Turning again directly to Piso, he bids him consult

his abilities, before he write; if he ever write, to submit his writings to fais ful critics, and to beware of hasty publication (to 390); then, to awaken in him a just sense of the sacred dignity of poetry (see lines 406, 407), he passes to an enumeration of the ancient and noble offices of the art (to 407).· 385. Invita-Minerva. Cicero, in de Off. i., 31, explains this expression; invita ut aiunt, Minerva, id est, adversante et repugnante natura. 386. Est. The true reading. Esto is a mere conjecture. -387. Meti. See n. Sat. i., 10, 38. - 388. Nonum-in annum; indefinite; in aliquod tempus," which is the expression of Quinctilian in a parallel passage, 10, 4, 2: "Nec dubium est, optimum esse emendandi genus, si scripta in aliquod tempus reponuntur, ut ad ea, post intervallum, velut nova atque aliena redeamus." 389. Intus;

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i. e. in the scrinium. On membranis, see n. Sat. ii., 3, 2. 390. Nescit, etc. See Epist. i., 18, 51. - 391. Horace draws his firs illustrations from the bards of the mythic period, Orpheus, Amphion, whose poetry he describes (to 1. 401) as the parent of civilization, the source of religion, laws, and the useful arts. · Silvestres homines; i. e. living in the woods; "the barbarous natives of the wood." Colman. Comp. n. O. i., 10, 2. Sacer. Virg. Aen. vi., 645, uses of Orpheus the expression Threicius Sacerdos. Deorum; i. e. of their will. 394. Dictus ob hoc. Comp. O. i., 12, 9-12. Thus Horace beautifully explains the stories of the magical sway of Orpheus over nature and the beasts of the field; it is the wondrous influence of music and poetry in promoting human civilization. - 394. Amphion. See n. O. iii., 11, 1.

-396. Sapientia quondam; i. e. the office of the ancient sages or poets. Haec points to what follows, publica, etc. - 401. Post hos, etc. He now mentions briefly the different kinds of poetry, and the ends they aimed at. 402. Tyrtaeus. The poet-warrior, who inspired, by his songs, the courage of the Lacedemonians in the 2d Messenian war. The commentators quote the words of Justin, 3, 5, concerning him: Carmina exercitui pro concione recitavit; in quibus hortamenta virtutis, damnorum solatia, belli consilia conscripserat. Sortes. The lots or responses of oracles, which were in verse. See Dict. Antiqq. under the word. 404. Vitae-via; in allusion to instructive or didactic poetry, e. g. the writings of Hesiod, Theognis, and others, see Manual Class. Lit., p. 168.- Gratia regum. This expres

403.

sion is illustrated by the lyric songs of Pindar, in praise of the exploits and victories of kings. - 405. Ludusque repertus; dramatic poetry, which originated in the festivals (Dionysia) of the people, held at the time of vintage. See n. above on 193-201; and Dict. Antiqq. Dionysia.

-408-415. The poet must unite with genius the laborious culture of art. 409. Nec studium. On this question Cicero expresses the same opinion, pro Archia, 7: Atque idem ego contendo, cum ad naturam eximiam atque illustrem accesserit ratio quaedam conformatioque doctrinae,

tum illud nescio quid praeclarum ac singulare solere existere. -412. Qui studet. The necessity of art is illustrated in the case of the competitor in the foot-race (at the Olympian Games), and of the fluteplayer at the Pythian Games. - -Metam. See n. O. i., 1, 4; and the illustration on p. 309. -414. Pythia; acc., sc. certamina. Comp. n. Epist. i., 1, 50. The Pythian Games were celebrated at Delphi; see Dict. Antiqq. The poet refers to the musical contests at the Games. 416–452. He who would be a true poet, must not be self-complacent (to 1. 418); nor give heed to selfish flatterers, to whom he will be especially exposed, if he happen to be rich (to 1. 437); but submit to the guidance of the honest and faithful critic (to 1. 452). – - 417. Occnpet-scabies; plague take the hindmost; an expression, borrowed (according to the Scholiast) from the sports of boys, as it was the usual cry of the boy who outstripped his fellows in running. -421. Dives agris, etc. This line is repeated from Sat. i., 2, 13.- -422. Unctum; sc. cibum or convivium; a savory," (Osborne) sumptuous banquet. 423. Levi; light, who has no credit. -430. Saliet; i. e. for joy. Tundet pede; = saltabit; comp. O. iii., 18, 15. So Orelli, who thus explains the connection of saliet with tundet: "exsiliet, quin etiam saltabit.". -431. Conducti; used for all who were hired to mourn at a funeral; more general than praeficae, on which see n. O. ii., 20, 21. -433. Derisor; as the opposite of vero laudatore, = falsus laudator, flatterer. 435. Torquere mero; to put to the wine-torture; i. e. to make wine (as a quasi tormentum), a test, or means of extorting, character. See n. O. iii., 21, 13.435. Perspexesse. See n. O. i., 1, 4.

437. Vulpe; i. e. pelle vulpina.

438. Quinctilio. He now draws, in contrast to the flatterer, a picture of an honest and faithful critic, selecting for the purpose the example of Quinctilius Varus (the literary and personal friend, whose death he had mourned in O. i., 24). 439. Aiebat; the indic. although si-recitares precedes; instead of si-recitabas,-aiebat (or dicebat) or sirecitares, diceret. See Z. § 519, b. Negares; sc. si. 441. Tornatos incudi. An instance of a mixed metaphor; drawn from the turner's lathe, and the smith's anvil. The text-books of rhetoric furnish similar instances from the poets, ancient and modern. 444. Quinamares; subjunctive, because it is oratio obliqua; Quinctilius would have said, in oratio recta, quin amas. -So Orelli; and the explanation is better than that which makes the subj. dependent upon the idea of hindering supposed to be involved in nullum-insumebat. -447. Signum; the obelus (†), or the Greek Theta, put to a line by the ancient critics, to show that it was bad or spurious. Comp. Pers. iv., 13; "Et potis es nigrum vitio praefigere theta.". – 450. Aristarchus; an Aristarchus ; in allusion to the famous Alexandrian critic of that name. So Cic. ad Att. i., 11: "mearum orationem tu Aristarchus es." 453-476. In conclusion, to illustrate the last point he had proposed to himself as a