EPISTLE TO THE PISOS This piece ought not to be considered either as a systematic treatise upon the Art of Poetry, nor, on the other hand, as a desultory composition, destitute' of all plan and order, but rather as a poetical Epistle; in which Horace, addressing three of his personal friends, communicates his sentiments on the subject of poetry, preserving throughout a train of thought sufficiently connected for the familiar style of epistolary writing. The persons to whom the Epistle was addressed, were Lucius Piso and his two sons. The father was born B. c. 49, was consul B. c. 15, and was made prefect of the city by Tiberius. His name is mentioned with distinguished honor by the historian Tacitus in his Annals, vi. 10: Per idem tempus, L. Piso pontifex, rarum in tanta claritudine, fato obiit, nullius servilis sententiae sponte auctor, et quoties necessitas ingrueret, sapienter moderans. Patrem ei censorium fuisse memoravi; aetas ad octogesimum annum processit; decus triumphale in Thracia meruerat. Sed praecipua ex eo gloria, quod praefectus Urbi recens continuam potestatem et insolentia parendi graviorem mire temperavit. Two of the earliest commentators tell us, that he was himself a poet; but on this point there seems to be no evidence. From the fact, that a considera. ble part of the Epistle is addressed to the elder of the sons, there seems to be some ground for the conjecture of Wieland, that this son was given to poetical pursuits, and had either projected or already written some poetical work. The course of thought which the poet pursues, seems to be, in general, as follows (the details will be given in italics, in the Notes): I. He first lays down and illustrates some general precepts applicable alike to all kinds of poetical composition (1-152). II. Thence he passes to a series of rules and historical notices of the drama, with chief reference to the Tragedy of the Greeks (153-284). III. Then, after touching upon the aversion of Roman poets to slow and laborious composition (285–294), and the absurd notion, with which it was connected, respecting the frenzy of poetic inspiration (295-303), he goes through, in the rest of the piece, with a course of critical instruction for the poet; whence he may derive his resources and his culture, what are the noble aims and attainments of excellence in his art, and what the fatal consequences of ignorance and error (304-end). This Epistle, though it has some historic worth from the sketch which it gives of the origin and progress of the Grecian drama, yet derives its chief and inestimable value from that larger portion which is strictly critical. Written at the close of Horace's life, and the last of his works, it is a precious legacy to his country and the world, of a poet who, by long and laborious culture, had made himself a master in his art; embodying the gathered results of his studies and experience in a series of rules and instructions, which are admirable alike in thought and expression; which, by their truth, good sense, and wisdom, commend themselves to the reason and judgment, and by their inimitable language catch the attention, and fasten themselves in the memory. It is a brief but comprehensive body of criticism, which has proved itself a veritable KTμa és άel, a possession for all times; in the words of La Harpe, "a lasting code of good taste;" or, in the kindred language of Hurd, "a kind of summary of the rules of good writing, to be gotten by heart by every student, and to whose decisive authority the greatest masters in taste and composition must finally submit." The principal works which have been written in imitation of this Epistle are Vida's Poetics (Poetic Lib. iii.), Pope's Essay on Criticism, and Boileau's Art Poétique. = = -40. -41. Facundia, was in painting a cypress tree, and who therefore painted it everywhere, even in a sea-picture. ·21. Qui pingitur. The poet alludes to a tabula votiva, on which see n. O. i., 5, 13. -23-37. Poets who are wanting in the skill and culture of the true artist, fail of the harmony, which is secured by unity, in two ways: 1, (25-31) by carrying too far an acknowledged excellence of style; 2, (32-37) by devoting undue care to certain parts, so that other parts are neglected, and a symmetrical whole is not created. 25. Decipimur, on the use of the first person, see n. Epist. ii., 1, 219. 26. Levia, the smooth; smoothness. 27. Grandia, the sublime. 29. Prodigialiter, in a marvellous manner; so that all readers may marvel at the writer's genius. 32. Unus; praeter ceteros, beyond all others; comp. Sat. ii., 3, 24; ib. vi., 57; Epist i., 9, 1. -34. Ponere, to form; comp. the passage in O. iv., 8, 8. 38-72. Horace proceeds to advise, that the writer choose a subject, which he can master; if he make such a choice, he will not be wanting, either in method or in eloquent expression (facundia). He briefly treats of method (42-45), and then more fully of expression, or the use of words (46–72). Potenter, pro suis viribus; according to his powers. this word does not occur in Cicero; but Horace uses it in the sense of Cicero's word elocutio; including all that belongs to expression or language. -46-72. On the subject of expression the leading thoughts are these: old words may be rendered new by a skilful connection (46–48); new words may be coined for new ideas (48-53), which precept is justified by the example of early writers (53–59), and by the consideration, that language, like all human things, is liable to change and decay (60–69); old words may be revived; and, in general, usage is the arbiter of language (70-72). 46. Serendis, from sero, sertum, from which also the word sermo; in arranging. - 47. Dixeris egregie; you will be distinguished, in your diction, from the crowd (egregie from e and grex); "votre diction vous distinguera de la foule ;" Gonod. - Callida-junctura. As illustrations of this expression, Orelli quotes from Horace, splendide mendax (O. iii., 11, 35, where see note), insanientis sapientiae (1, 34, 2), animae magnae prodigus (1, 12, 37). Gonod gives from Cicero, negligentia diligens, Orat. xxiii.; and De Amic. vii., Absentes adsunt, etc. To these may be added from Horace, Epist. i., 11, 28, Strenua nos exercet inertia; laborious idleness our powers employs; also O. iii., 16, 25; ib. 28; and from Boileau, A. P. i., 59, l'abondance stérile. Pope has many examples of this happy use of words.-Callidus is generally used of a person.-Persius, Sat. v., 17, has a parallel passage; verba togae sequeris, junctura callidus acri. 50. Cinctutis, literally, who wore the cinctus, and, as this was a garment worn by the ancient Romans, the word is here ancient. The cinctus was a garment "reaching from the waist to the knees, which was worn in early times, instead of the tunic, by persons of the male sex, engaged in active or laborious employ videatur." Stet-vivax, stare: = manere (as in Virg. Georg. iv., 209, stat fortuna domus), stand fast, endure; its force is increased by vivax, which means long-lived; much less shall the honor and grace of language for ever endure. 71. Usus. Comp. Epist. ii., 2, 119. 73-85. The poet describes the different kinds of poetry.—Epic, Elegiac, Dramatic, and Lyric-and their respective measures. 75. Impariter; i. e. alternate hexameters and pentameters. This adverb is peculiar to Horace, and is found only in this passage.· Querimonia; lamentation; i. e. for the death of friends; a mournful song or elegy. Horace here gives, by implication, the derivation of exeyos from ě čλéyew. This view is thus supported by Hermann, in Zeitschrift für die Alterthumsw., 1836, N. 66: "Lugendi formula est ě ě λéye; ex eaque et origo carminis elegiaci et appellatio explicari potest. Vix enim dubitandum videtur, quin antiquissimi illius lugubris carminis ea ratio fuerit, ut pentametrorum posterior pars haec esset: ě ě λey' ě ě λeye. Illi igitur versus recte dicti sunt ἔλεγοι.”. -76. Voti-compos. Voti compos, used of a person, means one who has obtained (is master of) his desire; sententia = sensus, feeling; the feeling of gratified desire; i. e. love and themes of love afterwards came to be written in this measure; after the elegia Spηvnτikh, came the elegia èpwriкh, erotic or amatory. -gg. Exignos; in comparison with the epic, humble, both in subject and measure. Auctor. Callinas wrote martial songs in this elegiac measure about 635 B. C.; Mimnermus first adapted it to erotic themes; see at Epist. ii., 2, 101; i. 6, 65; comp. n. O. ii., 1, 38. 78. Grammatici; the critics of the Alexandrian School, to whom the poet doubtless alludes with something of irony, on account of their many idle inquiries. 80. Socci-cothurni ; 79. Archilochum. See n. Epod. vi., 13. the sock—the buskin; for comedy and tragedy; see at Epist. ii., 1, 174. 81. Alternis, etc. This adaptedness of iambics to dramatic uses is easily explained by the quickness of the foot, the rapidity with which it is pronounced, and the distinctness by which the cadences are marked. Aristotle says, that the iambic is best suited of all measures to conversation; and that in fact men use it most in talking: Poet. 4. 83. Fidebus; to the (strings of the) lyre; i. e. to lyric poetry, and its freer, more various measures. 85. Caras; anxious loves; comp. Epod. ii., 37. 86-135. Having described the different kinds of poetry, he now lays down (86-88) and illustrates (89-135) the rule, that the province and distinctive character of each kind of poetry must be carefully observed. The illustration is drawn from the drama. (The details will be given with each passage.) 86. Vices, officia, munera, part, province. Comp. Sat. i., 10, 12. Descriptas, not expositas, antea descriptas, but=divisas, set off, or marked out by certain laws; fixed province. Colores, complexion (character) of different works. 89-98. Tragedy and comedy have each its own style (to 1. 92), yet, to a certain = |