Obrazy na stronie

satyric after-piece. 231. Indigna, disdaining. 232. Moveri, to dance. 234. Dominantia (kúpia), proper (in the rhetorical sense); used in their literal meaning, not figuratively. 235. Scriptor, i. e. in case I should write. 238. Emuncto, cheated. 240. Ex noto, from well-known (familiar) words, 240 sqq. O. cites Pascal, Pensées, 1, 3: Les meilleurs livres sont ceux que chaque lecteur croit qu'il aurait pu faire. 244. The Italian Fauns are here placed for the Greek Satyrs as being similar to them. 246 Teneris, elegant, refined. Juvenentur, trifle, or talk affectedly. 248. Quibus-res, i. e. men of rank, birth, and fortune, and therefore of education and refinement. Slaves and freedmen were


254. Ita, so very. 258. Socialiter, like an

said to be nullo patre nati. 249. Fricti cic. et nucis, of roasted pulse and chestnuts (or filberts), - pop-corn and pea-nuts. 251-274. The iambic trimeter, as the ordinary verse of the drama, is described. The careless and defective metre of the Roman dramatists is censured. The great Greek models should be carefully studied. 252. The subject of jussit is iambus, as a pes citus. It is the rapidity of the iambus which made the Greeks call a verse of six iambs a trimeter. It bade the name of trimeter to be added to iambics. Cum, although. 256. In paterna, into its hereditary rights. obliging comrade or partner. Hic, here, in the second and fourth place. 259 Ap. rarus, it (the iambus) appears seldom. 262. The subject of premit is still strictly iambus, but with the added idea rarus apparens : its infrequent appearance. 263. Videt, observes, detects. 267. Denique, in short. 274. Digitis, i. e. by beating time. 275-294. The history of the drama in Greece and Rome. The great obstacle to the success of the Latin poets is their impatience of the labor of correction. 277. Subjunctives in indirect narration (after dicitur). 278. The palla was a robe with a train, worn by tragic actors. 281. See Sat. 1. iv. 2, note. 288. (Fabulae) praetextae were tragedies, introducing men in high life wearing the toga praetexta; (fabulae) togatae were comedies, introducing characters in the toga, the dress of common life. Docuere, wrote or exhibited; lit. taught, inasmuch as the authors instructed the actors in their parts. 289, 290. Three ablatives of specification. 294 Perfectum ita ut perfectum sit. 295-308. The affectations of wouldbe men of genius. Horace makes no such claim; but will confine himself to giving the rules of poetic composition. 301. Laevus, stupid. — If I didn't purge my bile, I might be as mad and as great a poet as they. 302. Bilem, acc. of specification; or we may take purgor as Greek middle, purge my. 304. Nil tanti est, sc. quanti sanum fieri. 306. Officium, sc. poetae. 307. Opes, his resources or materials (Gedankenreichthum). 309–322. Good sense is the first requisite of the poet. Add

knowledge of human nature and sound ethical philosophy. 309. Sapere, good sense. 310. Rem, thy materials. Soc. chartae, the writings of philosophers of the Socratic school. 311. Rem, a subject.· "Es trägt Verstand und rechter Sinn mit wenig Kunst sich selber vor." 314. Conscripti senatoris. 317. Exemplar v. m., the ideal of life and character. Kr. Others: a model of life and character (i. e. some living example). 319. Speciosa - recte, beautiful in its thoughts (sentiments, common-places), and rightly depicting character. 323-332. The literary inferiority of the Romans to the Greeks arises partly from the dif ferences in their education. The Greeks are taught to love literary fame, the Romans to love money. 323. Ore rotundo denotes fulness, roundness, and elegance of style and diction. 326 sqq. Dicat-semis. Questions and answers in a Roman school. 328. The boy hesitating, the master encourages him by saying, "Why, you could have answered." 332. Oil of cedar was a preservative against moths and book-worms, as was also keeping books in cypress-wood chests. 333-346. The object of poetry is to instruct, or to please, or (what is most acceptable) to do both at once. In didactic poetry be concise; in imaginative poetry avoid improbabilities. 335. Cito percipiant. 337. Everything superfluous flows away from the breast (of the reader, already) full. 338. Ficta, things invented. 340. Pransae, after dinner. 341. The centuries of the old men (a term taken from the classes or centuriae of Servius Tullius), i. e. the grave seniors. Agitant exagitant (poemata) expertia frugis. 342. Celsi, the lofty, i. e. proud. The Ramnes were the eldest of the three centuries of knights; here representatives of the young men. Celsi R., the proud young patricians. 343. Punctum, vote; so called because at elections the custodes who took the votes pricked off the number given for each candidate. 345. Hic talis. 347-360. How far imperfections may be pardoned. 354. Scriptor librarius, a copyist, an amanuensis. 357. Cessat - peccat. 359. Quandoque quandocumque. 361-365. A poem is analogous to a painting. 366-334. There is room for mediocrity in the practical arts, but no toleration for it in poetry. Yet men will write verses who have no genius for their work. 366. Major (natu), elder. 368. Certis quibusdam. M. et t., middling and tolerable excellence. sellers' shops. See Sat. 1. iv. 71, note. (and Corsica) was bitter. Roasted sceds of the white poppy were served in honey at the dessert. 376. Duci, be prolonged, go on. 378. "Du sublime au ridicule il n'y a qu'un pas." 379. Camp. armis, the weapons of the Campus Martius, i. e. all the implements used there in games and sports. 383. Census, (lit. returning for assessment,) takes


373. Columnae, i. e. book375. The honey of Sardinia

an acc. like a Greek middle part. Cf. M. 237, a, Obs. 385-390. Subject thy writings to judicious criticism, and withhold them from early publication. Invita Minerva adversante et repugnante natura (Cic. de Off. I. 31, 110), i. e. against the bent of thy nature. 388. Nostras (= meas.) 391-407. Be not ashamed of the office of a poet; poetry has been the great civilizer of mankind. 394. Dictus est. 396. Fuit, etc., "for this, of old, was accounted wisdom." 399. The laws of Solon were inscribed on wooden tablets. 403. Sortes, oracles. 404. Vitae, etc. H. alludes to the didactic and gnomic poetry of Hesiod, Solon, Theognis, Phocylides, and others. Gratia regum. Arīon, Simonides, Anacreon, Pindar, and other lyric poets, enjoyed the favor of monarchs. 405. Ludus, plays, dramatic poetry. Dramatic pieces were first performed at the rural Dionysia, at the end of the labors of the year. 408-418. Good poetry demands a union of genius and laborious art. 409 sqq. Cf. Cic. pro Arch. VII. 15. 413. Puer (when) young. 417. Plague take the hindmost! Probably an exclamation of boys in their games. 419-437. Beware of critics who flatter. 422. Unctum - possit, who is disposed to set before thee something dainty (or a dainty banquet) in good style. 426. Cui, to any one. 430. Saliet terram, he will leap and dance for joy, when the hero is successful; as he had before wept at his misfortunes. 438-452. The honest critic will advise the author to correct, and sometimes to rewrite his whole piece. Some of the faults are specified which call for criticism. 439. Negares. The conjunctions in the protasis is often omitted. 442. Vertere, to change and correct. 453-476. Horace is fond of a humorous ending after his graver moods; and he here concludes with a ludicrous picture of a mad poet. 453. Morbus regius, the jaundice. 457. Sublimis, with his head in the air. 458. Composition of auceps? 460. Non sit. Subj.

as imperative. On non instead of ne, see M. 456, Obs. 2; Z. 529, note, end. 462. An, but that. Prudens, on purpose. 463. Siculi poetae, i. e. Empedocles of Agrigentum. 465. Frigidus, in cold blood. Antithetical with ardentem. 467. "The construction of idem with the dat. is pure Greek, and occurs only in poetry, and even there very rarely." Z, 704; M. 247, b, Obs. 8.-. One of the few spondaic lines in Horace. 472. Moverit, touched and profaned. 476. Hirudo, (like) a leech.


This Index is intended to supply the deficiencies of the Lexicons in ordinary
use, by presenting such facts or legends with regard to the different characters
as are requisite to the understanding of Horace's allusions to them. It has not
been thought necessary to insert names which can only be defined as belonging
to "an unknown person."

Achilles, son of Peleus, king of the Myrmidones in Phthiōtis in
Thessaly, and of Thetis, daughter of Nereus, - the well-known hero
of the Greeks in the Trojan war. According to legends which Horace
follows, he was instructed by Chiron the Centaur. When he was nine
years old, Calchas having declared that Troy could not be taken without
his aid, his mother, who knew that the war would be fatal to him, dis-
guised him as a maiden, and concealed him among the daughters of
Lycomēdes, king of Seyros. Ulysses discovered him by the following
stratagem. Disguising himself as a pedlar, he visited the court laden
with costly garments and ornaments, among which was a suit of armor
and weapons. While the maidens were engrossed with the beautiful
dresses and jewels, the young Achilles at once sprung to seize the arms
and equipped himself with them. His sex thus betrayed, Ulysses car-
ried him off to the war. For the details of his deeds at Troy, the stu-
dent should be content with no authority short of the Iliad. Horace
alludes to his love for the captive Briseis and his anger at Agamemnon
for taking her from him,- -a wrath which is the theme of the Iliad,
and which, by causing Achilles to withdraw from battle, postponed the
fall of Troy and caused countless woes to the Greeks: to his untiring
activity, his fierce courage, his hot temper and implacability: to his
slaying Hector, and giving up his body to the prayers of Priam: to his
healing Telephus, whom he had himself wounded (Propert. II. i. 63 ;
Ov. Trist. I. i. 99 sq.): and to his being himself slain by Apollo, or by
Paris with Apollo's aid.

Aeăcus, son of Jupiter and Aegina, king of Aegina, and famed for his
justice, on account of which he was after his death made judge of the
lower world. Aeaci genus (C. III. 19, 3), Peleus and Telamon (sons
of Aeacus), Achilles (son of Peleus), Teucer and Ajax (sons of Tela-
mon), and Neoptolemus (or Pyrrhus), son of Achilles.

Aesõpus Claudius, or Clodius, the great, impressive tragic actor,
admired by Cicero. His son (Sat. II. iii. 239), the heir of his vast for-
tunes, melted in vinegar a pearl worth $40,000 and drank it for the
whim of knowing how pearls would taste, and treated all his guests
with the same kind of draught.

Afranius, a poet who flourished A. U. c. 660, who in his Latin come-
dies or fabulae togatae imitated Menander.

Agrippa, M. Vipsanius, the well-known general, friend and son-in-
law of Augustus. After he had been prætor and consul, he undertook
the aedileship, the lowest of the curule offices, B. c. 33, to gratify the
emperor. His munificence was extremely great in the erection and
adornment of public buildings and the celebration of games on a splen-
did scale, and in large donations to the people. He was applauded in
the theatre for the lavish costliness of his exhibitions. He built the
Pantheon (so called), to which a porticus is attached, and also a portico
in commemoration of the naval victories of Augustus, to which he gave
the name Porticus Argonautarum: the latter is perhaps the one referred
to Epp. I. vi. 26. He had large estates in Sicily, probably given him
by Augustus after his successes against Sextus Pompeius. Among
other exploits, he reduced the Cantabrians B. C. 19.

Ajax, son of Telamon, after he was defeated by Ulysses in the con-
test for the armor of Achilles, was stricken with madness, in which he
rushed from his tent and slaughtered the sheep of the Greek army,
fancying they were his enemies, and at length put an end to his own
life. Agamemnon refused him sepulture. He loved the Phrygian cap-
tive Tecmessa, who was given him as his prize.

Ajax, son of Oïleus, was swift in pursuit (Iliad II. 527). He was
destroyed by Athene on his return from Troy for having dragged Cas-
sandra from her altar and violated her. Cf. Verg. Aen. I. 41, (Hom.
Odys. IV. 499 sqq.)

Albinovānus, Celsus, (Epp. 1. iii. 15, viii.,) a companion and secre-
tary of Tiberius Nero.

Albīnus, a rich usurer, whose son is called up to recite A. P. 327.
Albius Tibullus, the celebrated elegiac poet (Carm. 1. 33, Epp. 1. iv.).
Albutius, an unknown person, who poisoned his wife, and who (or
another of the same name) was cruel to his slaves.

Alfenius Varus, a lawyer who was brought up as a shoemaker at
Cremona, but became so eminent as to attain the consulship and a
public funeral.

Ancus Marcius, fourth king of Rome, especially dear to the people
(bonus Ancus, Lucretius after Ennius).

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