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

EXPLANATORY NOTES. EPISTLE TO THE FISOS. 649
eambes and Neobule. Horace, by the use of the term propno, expressly
flicribea to this poet the iDvention of iambics. The opinion entertained
by some critics that Arcbilochus merely improved this measure to sacb a
degree as to remain ever aiter the model of it, and that he was not the
actual inventor, may be seen urged in SchodL, Hist. Lit. Gr., vol. i., p. 199.
'—80. Hunc socci cepen pedcm., grandesque cothurni. " This foot the sock
and the stately buskin adopted," The soccu^ or low shoe oicome^, and
the cothurnus^ or buskin of tragedy^ are here figuratively used to denote
these two departments of the drama respectively.—81. Alterms aptum
iermoniims, &c. " As suited ibr dialogue, and calculated to surmount the
tumult of an assembled audience, and naturally adapted to the action of
the stag«." Compare Aristotle, Poet., 10 : MaXtffra }i,ektikuv twv fterpav
rh la/ilScldv ion • ariitetmi 6i tovtov • irlelara yap laii^eia Xeyofiev iv
ty diaAe/cr^ ry nphg li^.X'j^v^.^-^Popularea vincentem strepitus. There
are many reasons, observes Francis, given to explain this remark. The
cadence of iambics is more sensible, and their measures are more strongly
marked than any other. {*' Inaignes percussiones eorum numerorum."
Cic, de Orat., iii., 47.) The pronunciation is more rapid, and this rapidity
forms, according to Aristotle, a greater number of sharp sounds. Dacier
adds, that the iambic, being less different from common conversation, more
easily engaged the attention of an audience. The trochaic or dancing
measure first prevailed in tragedy, which was originally nothing more
than a choral song. When the dialogue was introduced and formed part
of the performance, the iambic or conversational measure came in.—83.
j^dibus. "To the lyre."—84. Et pugilem victorem, et equwm. certamine
^'rimum. Alluding to the lyric flights of Pindar.—85. Et Juvenum euros
f4 libera vino. " And the love-sick feelings of the young, and wine's un-
' )unded joys." The reference is to Sappho and Anacreon.
86-92. 86. DescriptcLS servare vices operUTngue colores, &c. " Why am
B'reeted with the name of poet, if I am unable, and in fact know not how,
to observe the distinctions (just mentioned) that have been marked out (by
custom and usage), and the different characters that productions should
have in the different species of verse ?" Colores refers to both the style
and the versification.—89. Res comica. "A comic subject."—90. Privatis.
" Of a familiar cast," i. e., such as are used in describing the private life
that forms the basis of comedy, but are unsuited for kings, heroes, and the
other characters of tragedy.—91. CiBtia Thyesta. The celebrated "ban
quet of Thyestes," for example, would be oSended, Jcc, if, for instance, it
were related by the efoyye^of , who came to announce it to the audience,
in the same kind of terms as those in which Simo narrates the funeral of
Chrysis in the Andrian Female of Terence. {Keightley, ad loc] The
banquet of Thyestes is here put for any tragic subject (res tragica), the
story of Thyestes being one of the most tragic nature.—92. Singula quaque
locum teheaKt sortita decenier^ "Let each particular species of writ
ing, when once itbas had its proper place allotted to it, hold that place in
a becoming manner." Literally, "having obtained its allotted place."
The construction is singula quieqtie, sortita locum, teneant earn locum de-
center.
93-96. 93. Vocem tollit. " Raises its voice." Compare the scholiast:
' Orandioribus verbis utitur." The poet means that the rule just laid
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