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

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—<br />

EXPLAN^ICRY NOTES. BOOK II., EPISTLE II. 635<br />

dote on Sat. i„ 5, 63. <strong>The</strong> idea intended to be conveyed by the vrhda<br />

passage is this : that as the actor who dances the part <strong>of</strong> a satyr or a<br />

Cyclops throws himself into different attitudes, <strong>and</strong> moves bis limbs in<br />

various ways, so ho who composes verses should transpose, vary, bring<br />

forward, draw back, <strong>and</strong>, in general, keep shifting his words <strong>and</strong> ezpressions<br />

in every possible variety <strong>of</strong> way.<br />

126-140. 126. Prtetulerivi scriptor delirus inersgue viderif &c. " For<br />

my own part, I had rather be esteemed a foolish <strong>and</strong> dull writer, provided<br />

my own faults please me, or at least escape my notice, than be wise <strong>and</strong><br />

a prey to continual vexation." <strong>The</strong> poet means that he would rather be<br />

a bad poet, if he could only imagine himself the contrary, than a good one<br />

at the expense <strong>of</strong> so much toil <strong>and</strong> vexation. Observe the force <strong>of</strong> the<br />

subjunctive in prcBtul&rvm.—128. Ringi. <strong>The</strong> deponent ringor literally<br />

means, " to show the teeth like a dog," "to snarl." It is then taken in a<br />

figurative sense, <strong>and</strong> signifies " to fret, chafe, or fume," &c. Puit h<strong>and</strong><br />

ignobilis Argis, &;c. <strong>The</strong> poet here gives an amusing illustration <strong>of</strong>what<br />

he has just been asserting. Aristotle {de Mirab. Au8cult.j init.) tells a<br />

similar story, but makes it to have happened at Abydos, <strong>and</strong> .^lian V. (<br />

H., iv., 25) <strong>of</strong> an Athenian named Thrasyllus.— 131. Sarvaret. "Discharged."<br />

In the iensG oVobseroaret ov exsequeretur^—iZi. Etsigno laso<br />

tion tTisanire lagena. " And would not rave if the seal <strong>of</strong> a wine-vessel<br />

Were broken." <strong>The</strong> ancients generally sealed the lagena^ to prevent their<br />

slaves from stealing the wine.—137. Elleboro. Consult note on Sat. ii.,<br />

3, 82. Morbum. Alluding to his madness, which the addition <strong>of</strong> bUem<br />

serves more clearly to indicate. Hence the expression atra hilis, so frequently<br />

used in the sense <strong>of</strong> insania.—140. £!t demtus, pretium mentis^<br />

&c. " And a most pleasing delusion, a (fair) price for reason, has been<br />

taken away," i. e., a pleasing delusion, the enjoyment <strong>of</strong> which one would<br />

consider cheaply purchased by the loss <strong>of</strong> reason. <strong>The</strong> common text has<br />

Et demtus per vim mentis gratissimus error, " <strong>and</strong> a most pleasing delusion<br />

<strong>of</strong> mind has been taken away by force." In place <strong>of</strong> thi«. we have<br />

adopted the singularly elegant reading (pretium) found in u, wiition <strong>of</strong><br />

Zarot, in behalf <strong>of</strong> which Gesner remai-ks, " Fulcherrimam sententiam<br />

parit lectio Zaroti ; qua pretium Tnenfis dicitur error gratissimus : i. e.,<br />

facile aliquis sana mente careat, ut tam jncundo errore fmatur."<br />

141-156. lil. Nimirumsapere est abjectis' utile rmgis. Ice. "(Such being<br />

the case), it certainly is a useful course (for us) to pursue <strong>and</strong> acquire<br />

wisdom, trifles being laid aside, <strong>and</strong> to give up to boys a sport that is suited<br />

to their years." By ludum is here meant verse-making, poetic composition.<br />

Observe the force <strong>of</strong> nimirum here, " certainly," " doubtless."<br />

<strong>The</strong> poet now takes a more serious view <strong>of</strong> the subject, <strong>and</strong> this forms<br />

the seventh excuse. He has put it last, that he might more naturally fall<br />

into the vein <strong>of</strong> morality which concludes his epistle. He would convince<br />

us that good sense does not consist in making verses, <strong>and</strong> ranging words<br />

in poetical harmony, but in regulating our actions according to the better<br />

harmony <strong>of</strong> wisdom <strong>and</strong> virtue. " Sed verts numerosgue modosque<br />

tdiscere vita."—145. Quocirca mecum loguor htec, tacitusgue recordor.<br />

" It is for this reason that I commune as follows <strong>with</strong> myself, <strong>and</strong> silently<br />

revolve in my own mind." <strong>The</strong> remainder <strong>of</strong> the epistle is a conversation<br />

which the poet holds <strong>with</strong> himself. This solibqay is designed to make<br />

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