The Odes and Carmen Saeculare of Horace Part 17

BOOK I, ODE 15.

And for your dames divide On peaceful lyre the several parts of song.

I have taken feminis with divides, but it is quite possible that Orelli may be right in constructing it with grata. The case is really one of those noticed in the Preface, where an interpretation which would not commend itself to a commentator may be adopted by a poetical translator simply as a free rendering.

BOOK I, ODE 27.

Our guest, Megilla's brother.

There is no warrant in the original for representing this person as a guest of the company; but the Ode is equally applicable to a tavern party, where all share alike, and an entertainment where there is a distinction between hosts and guests.

BOOK I, ODE 28.

I have translated this Ode as it stands, without attempting to decide whether it is dialogue or monologue. Perhaps the opinion which supposes it to be spoken by Horace in his own person, as if he had actually perished in the s.h.i.+pwreck alluded to in Book III, Ode 4, v. 27, "Me...

non exstinxit... Sicula Palinurus unda," deserves more attention than it has received.

BOOK II, ODE 1.

Methinks I hear of leaders proud.

Horace supposes himself to hear not the leaders themselves, but Pollio's recitation of their exploits. There is nothing weak in this, as Orelli thinks. Horace has not seen Pollio's work, but compliments him by saying that he can imagine what its finest pa.s.sages will be like--"I can fancy how you will glow in your description of the great generals, and of Cato." Possibly "Non indecoro pulvere sordidos" may refer to the deaths of the republican generals, whom old recollections would lead Horace to admire. We may then compare Ode 7 of this Book, v.

11--

"c.u.m fracta virtus, et minaces Turpe solum tetigere mento,"

where, as will be seen, I agree with Ritter, against Orelli, in supposing death in battle rather than submission to be meant, though Horace, writing from a somewhat different point of view, has chosen there to speak of the vanquished as dying ingloriously.

BOOK II, ODE 3.

Where poplar pale and pine-tree high.

I have translated according to the common reading "Qua pinus ... et obliquo," without stopping to inquire whether it is sufficiently supported by MSS. Those who with Orelli prefer "Quo pinus ... quid obliquo," may subst.i.tute--

Know you why pine and poplar high Their hospitable shadows spread Entwined? why panting waters try To hurry down their zigzag bed?

BOOK II, ODE 7.

A man of peace.

Quiritem is generally understood of a citizen with rights undiminished.

I have interpreted it of a civilian opposed to a soldier, as in the well-known story in Suetonius (Caes. c. 70), where Julius Caesar takes the tenth legion at their word, and intimates that they are disbanded by the simple subst.i.tution of Quirites for milites in his speech to them. But it may very well include both.

BOOK II, ODE 13.

In sacred awe the silent dead Attend on each.

"'Sacro digna silentio:' digna eo silentio quod in sacris faciendis observatur."--RITTER.

BOOK II, ODE 14.

Not though three hundred bullocks flame Each year.

I have at last followed Ritter in taking trecenos as loosely put for 365, a steer for each day in the year. The hyperbole, as he says, would otherwise be too extravagant. And richer spilth the pavement stain.

"Our vaults have wept With drunken spilth of wine."

SHAKESPEARE, Timon of Athens.

BOOK II, ODE 18.

Suns are hurrying suns a-west, And newborn moons make speed to meet their end.

The thought seems to be that the rapid course of time, hurrying men to the grave, proves the wisdom of contentment and the folly of avarice.

My version formerly did not express this, and I have altered it accordingly, while I have rendered "Novaeque pergunt interire lunae"

closely, as Horace may perhaps have intended to speak of the moons as hastening to their graves as men do.

Yet no hall that wealth e'er plann'd Waits you more surely than the wider room Traced by Death's yet greedier hand.

Fine is the instrumental ablative constructed with destinata, which is itself an ablative agreeing with aula understood. The rich man looks into the future, and makes contracts which he may never live to see executed (v. 17--"Tu secanda marmora Locas sub ipsum funus"); meantime Death, more punctual than any contractor, more greedy than any encroaching proprietor, has planned with his measuring line a mansion of a different kind, which will infallibly be ready when the day arrives.

BOOK II, ODE 20.

I, whom you call Your friend, Maecenas.