The works of Horace : with English notes, critical and ... - Cristo Raul

EXPLANATORY NOTES. BOOK I., ODE XXI. 295
Odk XXI. A hymn in praise of Apollo and Diana, which has given
rise to mach diversity of opinion among the learned. Many regard it as a
piece intended to be sung; in alternate stanzas by a chorus of youths and
maidens on some solemn festival. Acron refers it to the Stecolar Games,
and Sanadon, who is one of those that advocate this opinion, actually removes
the ode from its present place and makes it a component part of
the Ssecular Hymn. Others, again, are in favor of the Ludi ApoUinarest
All this, however, is perfectly arbitrary. No satisfactory ai'gaments cac
be adduced for maldag the present ode an amoebcsan composition, nor can
it be fairly proved that it was ever customary for such hymns to be sung
in alternate chorus. Besides, there are some thiags in the ode directly
at variance with such an opinion. Let ns adopt, for a moment, the distri^
bution of parts which these commentators recommend, and examine the
result. The first line is to be sung by the chorus of youths, the second by
the chorus of maidens, while both united sing the third and iburth. In the
succeeding stanzas, the lines from the fiiih to the eighth inclusive are assigned
to the youths, and from the ninth to the twelfth inclusive to the
maidens, while the remaining lines are again sung by the double chorus.
In order to eSect this arrangement, we must change, with these ci-itics,
the initial Hie in the thirteenth line to H/eCj in allusion to Diana, making
the reference to Apollo begin at hie miseram. Now, the impropriety of
making the youths sing the praises of Diana (verses 5-6), and the maidens
those of Apollo (v. 9-lS), must be apparent to every unprejudiced ob-
server, and forms, we conceive, a fatal error. Nor is it by any means a
feeble objection, whatever grammatical subtleties may be called in to explain
it away, that motus occurs in the sixteenth line. If the concluding
stanza is to commence with the praises of Diana as sung by the yonths,
*hen evidently motus should be motOf which would violate the }neasure.
The conclusion, therefore, to which we are drawn, is simply this :, The
present ode is merely a private effusion, and not intended for any public
solemnity. The poet only assumes in imagination the oiHce of choragus,
and seeks to instruct the chorus in the proper discharge of their general
duties.
1-8. 1. Dianam. Apollo and Diana, as typifying the sun and moon,
were ranked in the popular belief among the averters of evil [Dii averrvnci,
ieot aa-njpEc, a^e^iicaKoi, to.), and were invoked to ward off famine,
pestilence, and all national calamity.— 3. Intonsjim CyntMum.
" Apollo ever young." Compare the Greek ItKepcE/co/aiv. It was customary
among the ancients for the first growth of the beard to be consecrated
to some god. At the same time the hair of the head was also cut
oi? and offered up, usually to Apollo, Until then they wore it uncut.
Hence the epithet intonsus (literally, " with unshorn looks"), when applied
to a dfeity, carries with it the idea of unfading youth.—The appella-
tion of Cynthius is given to Apollo from Mount Cynthus in the island of
Delos, near which mountain he was bom.—4. Dilectam penitiis. " Deeply
heloved."^-*. Qutccunqne aut gelido, &c. "Whatsoever (foliage of
groves) stands forth promment to the view, either on the bleak Algidus,
or," &.C. Commentators complain of tautology here ; but they forget that
uemus is strictly speaking a part, and sibia a whole. Algido. Algidus
was a mountain in Latium, consecrated to Diana and Fortune. It appears
to hav« been, strictly speaking, that chain which stretched from the
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