The festival continued three days. -43. Reddidi ;=cantavi. The song is learned from a teacher, then given back, i. e. sung.

ODE VII.

An ode, occasioned, like the Fourth of Book First, by the return of Spring. There too the poet dwells upon the thoughts suggested by the season; and compares the changing year with the life of man. In each alike, time ever hurries on; but of the year, though it is always passing, there is always renewal, in the regular return of the seasons. Not so in human life; it has but one Spring, one Summer; and its winter once assed, the whole is closed for ever.

"And pale concluding winter comes at last,

And shuts the scene."-THOMSON.

It is not certain who is the Torquatus, to whom the poet addressed this ode, as well as the Fifth Epistle of the First Book. Some suppose it to be the grandson, others the son of L. Manlius Torquatus, in whose consulship Horace was born. But of the grandson we know nothing with any certainty, and of the son, we know, from Cicero's Brutus, c. 76, that he died in Spain many years before this ode was written.

2. Comae. See note, O. i., 21, 5.- -4. Praetereunt. do not overrun. ————— 5. Gratia. Compare n. O. i., 4, 6. adds, from Thomson's Summer:

"The Seasons lead, in sprightly dance,
Harmonious knit, the rosy-fingered Hours."

Glide along; Osborne here

7. Almum. Benignant. A poetic epithet, used also with sol, Carm. Sec. 9.- -9. Proterit. Pushes aside. Comp. O. ii., 18, 15, truditur dies

die. - 12. Iners. Dull. -15. Dives. In accordance with the ideas of the vulgar, concerning the wealth and power of ancient kings, whose statues they daily saw in the Capitol. Orelli.-17. Quis scit an. An generally begins a second question, and means or; but in the best Latin authors stands seldom as here, with a single indirect question. Orelli cites Hand, Turs. 1, p. 304; who supplies thus the first clause; quis scit, utrum hodie jam nobis moriendum sit, an, etc.-See Z. § 353. Arn. Pr. Intr. 120.- −19. Amico-animo. Amicus animus is poetic, like the Greek píxov hrop, for animus, with a possessive pronoun, here for animus tuus. Animo is dat. with dederis; and the expression dare animo is similar to animo obsequi, animo morem gerere; the whole means, which you have given yourself, in which you have indulged your inclination.

- 21. Splendida arbitria. August sentence. Minos, the famous king and lawgiver, is often represented by the poets as a judge in Hades. There he sat on his tribunal, with his majestic sceptre; and around him gathered the spirits, as did on earth the Cretans, to submit their differ

-26.

ences, and await his decisions. Comp. Homer, Odyss. 11, 568.Hippolytum. Horace follows here the older tradition, the same that forms the basis of Euripides's Tragedy. According to the later story, Hippolytus was restored to life by Aesculapius. Comp. Ovid, Met. 15, 409; Virg. Aen. 7, 761. — 28. Pirithoo. See note, O. iii., 4, 79.

ODE VIII.

This ode Horace probably sent to Censorinus as a New-Year's or a Saturnalian gift; a gift truly worthy of a poet. Not costly cups will he send, nor vases, nor tripods, nor gems of Grecian art; for these he has not, nor are they needed; but what he has to give, and what his friend can prize, the praises of his Muse, the poet's gift of immortality.

It was customary with the Romans to exchange presents and good wishes at NewYear's, and also at the festival of the Saturnalia.-See Dict. antiqq. under Saturnalia.

1. Commodus. Join with donarem, and translate as an adverb Gladly.2. Aera; i. e. vasa aerea, bronze vases, especially the Corinthian. These, as well as drinking-cups, were probably favorite articles for presents. 3. Tripodas. The tripod seems to have been a very ancient form for tables, candlesticks, and articles of furniture. It is mentioned in Homer, Od. 15, 84, also in Hesiod. Among the Greeks, tripods were made of bronze, marble, and other materials, in imitation of the tripod of the Pythian priestess. Such a tripod was the prize at the Grecian games. So Virgil describes it in Aen. 5, 110. To such tripods Horace here refers, praemia, etc. Possibly he means veritable Greek tripods, as the fondness for antiques had become a passion with the rich of his time.-See Becker's Gallus (Eng. ed.), p. 24. - -5. Artium. Works of art. The word is governed by divite; see Z. § 437.— The poet refers to paintings, like those of Parrhasius of Ephesus, who was the rival of Zeuxis, and lived about 400 B. C.; and to statues, like those of Scopas of Paros, who flourished just before Parrhasius. 8. Ponere; for in ponendo. Ponere=fingere, is common in connection with sculpture. So in Ars. P. 34. - -12. Dicere governs muneri, and - 13. is used like ponere in Sat. ii., 3, 23; to put a value upon the gift. Non incisa notis. Marmora signa marmorea, statues of marble. Notae, literally marks, here=notae litterarum or litterae, e. g. Liv. 6, 29, tabula litteris incisa; it refers to the tituli, inscriptions at the base of statues. Publicis, public, because engraved at the expense of the state. Not public inscriptions cut in statues of marble.- -17. Non incendia, etc. This line is not in harmony with the context. The words celeres-minae manifestly refer to the elder Scipio Africanus, who by passing over to Africa, compelled Hannibal's rapid flight from Italy, and, as it were, threw back (rejectae) the threats of Hannibal. So too Calabrae Pierides

plainly alludes to the commemoration of the deeds of the elder Scipio by his friend Ennius, who was born at Rudae, in Calabria. But incendia Carthaginis can only refer to the younger Scipio, who destroyed Carthage by fire B. C. 146. Hence some suppose these words in 1. 17 to refer to the burning of the camps and of the fleets of the Carthaginians in the Second Punic War, related by Livy, B. 30, 5, 6, 43. Others resort to conjectural readings, as impendia, stipendia; which Dillenburger well calls a desperate remedy, as the MSS. all agree upon incendia. Bentley rejected the line as spurious. On the whole, the conclusion of Orelli (in his Excursus) seems most probable, that several lines, he thinks two, have in some way been lost after 1. 17, which if present would relieve the passage of all difficulty. This conclusion gathers strength from the view of Meinecke, that Horace always wrote odes of this measure in stanzas of four lines. By the addition of two lines, the ode would have nine such stanzas. -23. Puer. Romulus, whose deeds were sung by Ennius in his Annales. Dillenburger quotes a passage of Ennius, which occurs in Cic. de Republ. 1, 41. Ennius lived about B. C. 230, and was the contemporary and friend of Scipio and Laelius. 25. Aeacum. Often celebrated by Pindar. 27. Divitibus—Insulis. The μakáρov vool, the Fortunate Isles of Hesiod and Pindar, like the Elysian Fields of Homer and of Virgil. Comp. Epod. 16, 41, seqq.— Divitibus beatis. Two adjectives often interchanged in poetry.29. Sic; i. e. by the agency of poetry.-31. Tyndaridae. Castor and Pollux. Comp. O. i., 3, 2; 12, 25.- -33. Ornatus-pampino. A similar expression in O. iii., 25, 20.

ODE IX.

Wishing to consecrate in verse the name and virtues of Lollius (see n. l. 32), Horace first asserts the destiny of his own Muse, and illustrates the high office of poetry, by the fate of forgotten, because unsung, heroes. The train of thought seems to be as follows:

My poetry will never perish; for though Homer be the prince of poets, the masters of Grecian lyric song yet live in the memory of men (1-12): Not the only nor the first heroes the world has known were the heroes of Homer; many a one had lived before them. but they share the oblivion of the vulgar, because they found no poet to immortalize their name (13-30). Not such, Lollius, shall be thy fate. In my poetry, thy deeds and virtues shall live for ever.

2. Aufidum. See note, O. iii., 30, 10. - 3. Non ante; i. e. among the Romans. The idea is the same as in O. i., 30, 13. — 5. Maeonius. See note, O. i., 6, 2.- -7. Ceae. In allusion to Simonides of Ceos. See note, O. ii., 1, 38. - Minaces. In explanation of this epithet, see n. O. i., 32, 6. 8. Stesichori. A lyric poet, of Himera, in Sicily, who

died B. c. 566. His poetry approached the gravity and dignity of the epic muse. Quintilian describes him as epici carminis onera lyra sustinentem. Hence the epithet here graves, majestic. -9. Anacreon. Comp. n. O. i., 17, 18.- -11. Calores. Poetic for amores, the passions, or the impassioned lyrics; the fervors. In translation, preserve the Latin order: yet breathes the love, etc.- -12. Puellae. Genitive. The allusion is to Sappho, of Mitylene, on the island of Lesbos. - - 13. Non sola-arsit. Arsit governs crines; as the word has a kind of active signification, ardently love, burn with love for; as in Virg. Ecl. 2, 1, Corydon ardebat Alexin. The verb also occurs with the abl., O. ii., 4, 8; iii., 9, 5; and Epod. 14, 9. Here too the translation becomes more forcible, by imitating the Latin order: not Helen of Lacedaemon alone, etc.

15. Mirata; sc. est, in same construction with arsit. - 17. Primusve. Nor was Teucer the first who, etc.-On Cydonio, comp. n. O. i., 15, 17. Cydon was a Cretan city. 18. Ilios; a Troy; i. e. a great city like Troy. Horace does not refer to any earlier sieges of Troy. Ilios is here in feminine gender; so in Epode 14, 14.· -20. Idomeneus was king of Crete, and a celebrated chief in the Trojan war. Sthenelus was Diomed's charioteer.-29. Inertiae. Dative for abl. with preposition. See A. & S. ý 224, Rem. 3.- -32. Tuos-labores-Lolli. Lollius had administered the government of Galatia with vigor, and with great credit to himself; and had been consul B. c. 21. Up to the time when this ode was written, and indeed for many years after, he sustained an unblemished reputation, and stood high in the favor and confidence of Augustus. But at a later period, after the death of Horace, he made himself odious by his avarice and other bad qualities of character.39. Consul. In apposition with animus. By a bold metaphor the poet describes the lasting influence of an upright character The consul was the highest Roman magistrate, and held his office for a single year. The upright mind perpetuates its influence through all succeeding years, and thus wears, as it were, the honors of a perpetual consulship.41. Honestum-utili. Honor to expediency. Horace uses so strong and emphatic language, in describing the character of Lollius, that there seems some ground for Dillenburger's conjecture, that he had heard somewhat against him, and convinced of his innocence, unconsciously adopted the tone of a defender. ———44. Explicuit—arma. The image seems to be that of a soldier, doing valiant and victorious battle against fearful odds. So the good man by the arms of virtue triumphs over the hosts of evil and of evil men.-With the sentiment of this passage, comp. O. iii., 2, 19; and on the use of the perfects in the stanza, see n. O. i., 28, 20.- -50. Pejus; used instead of magis, and it is more forcible. So Epist. i., 17, 30; Cic. ad Fam. 7, 2. Dillenb. Flagitium is any thing that brings with it infamy; disgrace. Such a man fears disgrace, but shrinks not from death itself, for his friends or his country.

ODE X.

Addressed to a beautiful boy; the poet's advice to whom is like Virgil's to Alexis, in Ecl. 2, 17:

"O formose puer! nimium Le crede colori!

2. Insperata. Adverbial.

Unexpectedly. Pluma, down, for the early beard. Superbiae is dat. depending upon veniet. -4. Puniceae; purple; as Virg. Aen. 12, 77.-5. Hispidam. Rough; not from old age, but from the beard.

With the glass.

6. Speculo. Ablative of instrument.

ODE XI.

An mvitation to Phillis, to celebrate with the poet at his Sabine farm the birth-day of Maecenas, which was on the ides of April.

2. Albani. The Alban belonged to the third class of Italian wines. See Dict. Antiqq. under Vinum. The opening of this ode is like that of the 29th, Book I.- -3. Apium. See note, O. i., 36, 15.5. Crines. Join with religata; in the same construction as in O. ii., 11, 24, where see note. 7. Verbenis. Compare note, O. i., 19, 14.- -8. Spargier. An old form for pres. infin. passive, found in Horace only here. See A. & S. § 162, 6; Z. § 162. -12. Vertice. This word is by some translated the house-top; but Orelli and Dillenburger understand it, and I think correctly, of the smoke and flame; Rolling up in a whirl, that is, whirling up. Trepidare is often used of the tremulous motion of flames. Comp. Virg. Ecl. 8, 105. from iduare, dividere.· -25. Terret. who threw his rider, Bellerophon, when the Chimaera, sought to fly to heaven. 35. Quos reddas. To sing (to me). Comp. note, O. iv., 5, 43.

16. Findit; i. e. dividit. Idus, Is a terror to. 27. Pegasus; he, exulting in his victory over Comp. note, O. i., 27, 23.