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By the same Editor,


PART I. containing the Odes and Epodes. 12mo. price 3s. cloth.

After all the pains bestowed on the text and language of Horace, there are many difficulties insufficiently explained. To supply a further, and in some cases a more simple aid towards their explanation, and to present the results of previous labours in the most condensed and accurate form for schoolboys and for students, is the aim of this edition. Nothing is supplied which may be readily found in Dictionaries; the names of persons are given in full, but only such account of them as may prevent mistake, or may indicate what deserves notice, yet might probably escape it. The Latin and Greek quotations are taken only (with one or two necessary exceptions) from the authors in common school use: those from Cicero or Livy and the Greek Lyric poets are mostly, if not always, to be found in the Eton Extracts;

they have been, indeed, often selected on that very account. Reference is made to our standard English authors, sometimes as authoritative, sometimes as illustrative, elsewhere as suggesting forcible and poetic renderings; occasionally as serving the purpose or obviating the necessity of translation or paraphrase. The Notes are confined strictly to the elucidation of the author's language or allusions; to points which schoolboys and scholars may be expected to know or ask. They have no reference to extraneous matter, as in Orelli's edition, and others of a more extended and discursive character. Prefixed is a sketch of the poet's character and works, with a Chronological Table of the Events mentioned by him, and an account of Metres.

London LONGMAN, BROWN, and CO., Paternoster Row.


IN preparing Part II., I have been allowed, by the kindness of a friend, to consult the copy of Horace used by the late Dr. Goodall, and enriched by his MS. notes.

The excellence of Dr. Goodall's scholarship is well known. Many of his remarks having become current among us at Eton, they did not always supply me with new information; but I could not fail to gain from them some hints and fresh references, and more especially the proof (which, even before I had recourse to Dr. Goodall's notes, had become more and more evident) that the most valuable system of annotation is that which develops the author's meaning by comparison of passages.

Such a comparison points out many niceties of language, is an aid (beyond any memoria technica) to the memory, and without, perhaps, a greater expense of time, quickens the understanding in a very different way from the passive reception of explanatory details.

In short, it enables the student to master his work for himself, and in so far as it engages his attention, draws in the same direction his will and ability. It has not, however, been easy to adhere with complete strictness and uniformity to this principle in Part II.

An index, showing how large a number of the references may be found in our Eton extracts, has been added, and will, it is hoped, be found generally acceptable.

An analysis of all the Satires, in consecutive order, subjoined to show in juxtaposition the resemblances or repetitions, and the distinctiveness of each.


The general subject is Covetousness, which (it is implied) originates in Discontent, and issues commonly in Avarice.

These two principles or passions are treated of in order. The question is proposed, and examples given, with a test (vv. 15-19.) of the sincerity of grumblers.

Then (v. 28, 29.) as to the hardships which are endured, they are so (at least professedly) in the hope of an eventual provision and repose.

Not so with the miser. His toil has no end in prospect, and no present fruit (vv. 38—91.).

The necessity for a truer principle of life is inferred (v. 92.); its foundation in right reason asserted (vv. 106-7.).

But the majority of men push on with the restless competition of a race (vv. 113-116.).

Therefore it is that they cannot look back to life with satisfaction, nor to death with equanimity (vv. 117-119.).


A satire upon those who run into one extreme to avoid another, as expressed in v. 24.:

Dum vitant stulti vitia, in contraria currunt.


The subject here seems to be the rule vitiis nemo sine (as in v. 68.), and the deductions from it: e. g. that the observation of faults in others should remind us of our own; that the best construction should be put upon each

other's actions; and that censures, where there is call for them, should be modified and discriminating.

The method pursued is a notice of the levities and inconsistencies of Tigellius- -a confession of the satirist's own defects, for which he claims a fair and kind consideration, and then argues against the unfriendly and censorious habit prevalent in society, and finally against the arbitrary Stoic rule which classed all offences as equal: a rule in its practical application unnatural and inequitable.


This contains the poet's defence of himself and his poetry against detraction.

In the opening he describes the rise of Roman satire (vv. 1—14.), ridicules Crispinus and the reciters of the day, and claims not to be confounded with them (vv. 14-24.).

He rates his own pretensions modestly, and glances at the character of a true poet (v. 39. sqq.)

He justifies candid and friendly raillery (v. 68-91.) as contrasted with selfish and ill-natured wit (v. 81. sqq. v. 100.).

Then, paying a tribute to his father's excellence (v. 105.), who ever deterred him from vice and folly by example (the true purpose, with regard to the public, of legitimate satire), and inculcating by his own practice a habit of reflectiveness and self-correction, he skilfully recurs (v. 140.) to his original subject, and winds up with the assertion and maintenance of poets' rights.


This satire is a humorous relation of a journey to Brundisium, in which Horace had been invited to accompany Mæcenas, who was employed on a state embassy,

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