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Ars Poetica

Horace · 7.3k words · Latin Text and English Translation

Contents — 13 sections
  1. Section 1
  2. Section 44
  3. Section 73
  4. Section 99
  5. Section 125
  6. Section 189
  7. Section 220
  8. Section 275
  9. Section 309
  10. Section 347
  11. Section 391
  12. Section 419
  13. Section 453

Section 1

If a painter should wish to unite a horse's neck to a human head, and spread a variety of plumage over limbs [of different animals] taken from every part [of nature], so that what is a beautiful woman in the upper part terminates unsightly in an ugly fish below; could you, my friends, refrain from laughter, were you admitted to such a sight Believe, ye Pisos, the book will be perfectly like such a picture, the ideas of which, like a sick man's dreams, are all vain and fictitious: so that neither head nor foot can correspond to any one form. "Poets and painters [you will say] have ever had equal authority for attempting any thing." We are conscious of this, and this privilege we demand and allow in turn: but not to such a degree, that the tame should associate with the savage; nor that serpents should be coupled with birds, lambs with tigers.

All that our poet says here may be referred, in general, to three heads, the fable, the manners, and the diction. We should take notice that this piece particularly regards epic and dramatic poetry, and that our author only occasionally mentions any other kind. The most important precept for the composition of a poem is unity and simplicity of design. There should be only one action, to which all the incidents ought to refer; and this point of perfection, every regular work requires. To show the necessity of this rule, Horace compares an irregular poem to pictures formed by a wild assortment of many parts entirely unlike each other. Every part, considered in itself, may have its proper, natural perfection, while their union produces nothing but what is monstrous and ridiculous. FRAN. The critic's rules must be taken either, 1. from the general standing laws of composition; or, 2. from the peculiar ones, appropriated to the kind. Now the direction to be fetched from the former of these sources will of course precede, as well on account of its superior dignity, as that the mind itself delights to descend from universals to the consideration of particulars. Agreeably to this rule of nature, the poet, having to correct, in the Roman drama, these three points, 1. a misconduct in the disposition; 2. an abuse of language; and, 3. a disregard of the peculiar characters and colorings of its different species, hath chosen to do this on principles of universal nature; which, while they include the case of the drama, at the same time extend to poetic composition at large. These prefatory, universal observations being delivered, he then proceeds, with advantage, to the second source of this art, viz., the consideration of the laws and rules peculiar to the kind.

But Orelli more rightly treats collatis membris as the ablative absolute.

In pompous introductions, and such as promise a great deal, it generally happens that one or two verses of purple patch-work, that may make a great show, are tagged on; as when the grove and the altar of Diana and the meandering of a current hastening through pleasant fields, or the river Rhine, or the rainbow is described. But here there was no room for these [fine things]: perhaps, too, you know how to draw a cypress: but what is that to the purpose, if he, who is painted for the given price, is [to be represented as] swimming hopeless out of a shipwreck? A large vase at first was designed: why, as the wheel revolves, turns out a little pitcher? In a word, be your subject what it will, let it be merely simple and uniform.

These preparatory observations, concerning the laws of poetic composition at large, have been thought to glance more particularly at the epic poetry which was not improper: for, 1. the drama which he was about to criticise, had its rise and origin from the epos. Thus we are told by the great critic, that Homer was the first who invented dramatic imitations μόνοσ . 2. The several censures, here pointed at the epic, would bear still more directly against the tragic poem; it being more glaringly inconsistent with the genius of the drama to admit of foreign and digressive ornaments, than of the extended, episodical epopaeia. For both these reasons, it was altogether pertinent to the poet's purpose, in a criticism on the drama, to expose the vicious practice of the epic models. Though, to preserve the unity of his piece, and for a further reason (see note on v. 1), he hath artfully done this under the cover of general criticism.

Boughs of cypress were carried in funeral processions, and placed before the houses of the great, upon particular occasions of sorrow, Et non plebeios luctus testata cupressus. From hence, perhaps, this tree was usually drawn in votive tablets; in pictures carried by beggars, to excite charity; and in those used by lawyers in courts of justice, to raise the compassion of the judges, by representing the distresses of their clients. A painter might, by frequent practice, excel in drawing a tree for which there was such demand; and he therefore absurdly determines to show his skill upon all occasions, even by painting it in the middle of the ocean, and making it overshadow the storm. The commentators understand this passage in a different manner.

The great majority of us poets, father, and youths worthy such a father, are misled by the appearance of right. I labor to be concise, I become obscure: nerves and spirit fail him, that aims at the easy: one, that pretends to be sublime, proves bombastical: he who is too cautious and fearful of the storm, crawls along the ground: he who wants to vary his subject in a marvelous manner, paints the dolphin in the woods, the boar in the sea. The avoiding of an error leads to a fault, if it lack skill.

The word prodigialiter apparently refers to that fictitious monster, under which the poet allusively shadows out the idea of absurd and inconsistent composition. The application, however, differs in this, that, whereas the monster, there painted, was intended to expose the extravagance of putting together incongruous parts, without any reference to a whole, this prodigy is designed to characterize a whole, but deformed by the ill-judged position of its parts. The former is like a monster, whose several members as of right belonging to different animals, could by no disposition be made to constitute one consistent animal. The other, like a landscape which hath no objects absolutely irrelative, or irreducible to a whole, but which a wrong position of the parts only renders prodigious. Send the boar to the woods, and the dolphin to the waves; and the painter might show them both on the same canvas.

Each is a violation of the law of unity, and a real monster: the one, because it contains an assemblage of natural incoherent parts; the other, because its parts, though in themselves coherent, are misplaced and disjointed.

A statuary about the Aemilian school shall of himself, with singular skill, both express the nails, and imitate in brass the flexible hair; unhappy yet in the main, because he knows not how to finish a complete piece. I would no more choose to be such a one as this, had I a mind to compose any thing, than to live with a distorted nose, [though] remarkable for black eyes and jetty hair.

Unus = praeter caeteros, melius quam reliqui omnes.

Ye who write, make choice of a subject suitable to your abilities; and revolve in your thoughts a considerable time what your strength declines, and what it is able to support. Neither elegance of style, nor a perspicuous disposition, shall desert the man, by whom the subject matter is chosen judiciously.

Literally, "shoulders," a phrase derived from wrestlers. The reading before Bentley was imus.

This, or I am mistaken, will constitute the merit and beauty of arrangement, that the poet just now say what ought just now to be said, put off most of his thoughts, and waive them for the present.

Section 44

In the choice of his words, too, the author of the projected poem must be delicate and cautious, he must embrace one and reject another: you will express yourself eminently well, if a dexterous combination should give an air of novelty to a well-known word. If it happen to be necessary to explain some abstruse subjects by new invented terms; it will follow that you must frame words never heard of by the old-fashioned Cethegi: and the license will be granted, if modestly used: and new and lately-formed words will have authority, if they descend from a Greek source, with a slight deviation. But why should the Romans grant to Plautus and Caecilius a privilege denied to Virgil and Varius? Why should I be envied, if I have it in my power to acquire a few words, when the language of Cato and Ennius has enriched our native tongue, and produced new names of things It has been, and ever will be, allowable to coin a word marked with the stamp in present request. As leaves in the woods are changed with the fleeting years; the earliest fall off first: in this manner words perish with old age, and those lately invented flourish and thrive, like men in the time of youth. We, and our works, are doomed to death: whether Neptune, admitted into the continent, defends our fleet from the north winds, a kingly work; or the lake, for a long time unfertile and fit for oars, now maintains its neighboring cities and feels the heavy plow; or the river, taught to run in a more convenient channel, has changed its course which was so destructive to the fruits. Mortal works must perish: much less can the honor and elegance of language be long-lived. Many words shall revive, which now have fallen off; and many which are now in esteem shall fall off, if it be the will of custom, in whose power is the decision and right and standard of language.

Cinctutis. Having the tunic tightened by the cinctus, or wearing the cinctus instead of the tunic, as appears to have been the custom of the ancient Romans. This was a vest which passed round the waist, and extended down to the feet. That it was an ancient vesture may appear from its being used by the Luperci. Comp. . As it did not embarrass the motion of the arms, even after the tunic became part of the dress, it was sometimes substituted for it by those who had occasion to use much bodily exertion. Hence cinctutis is supposed by some to have a meaning here similar to that of succinctus, "active, industrious." Others explain the word as referring to that arrangement of the toga called cinctus Gabinus.

Agrippa opened a communication between the Lucrine and Avernian Lakes in 717, and built a magnificent haven there, which he named Portius Julius, in honor of Augustus, who was at that time only called Julius Octavianus.

The Scholiast informs us, that Agrippa opened a canal to receive the waters of the Tiber, which had overflowed the country.

This revival of old words is one of those niceties in composition, not to be attempted by any but great masters. It may be done two ways: 1. by restoring such terms as are grown entirely obsolete; or 2. by selecting out of those which have still a currency, and are not quite laid aside, such as are most forcible and expressive. These choice words, among such as are still in use, I take to be those which are employed by the old writers in some peculiarly strong and energetic sense, yet so as with good advantage to be copied by the moderns, without appearing barbarous or affected. (See ) The other use of old terms, i. e. when become obsolete, he says, must be made parce, more sparingly.

Section 73

Quemnam te esse dicam? qui tarda in senectute,

Section 99

It is not enough that poems be beautiful; let them be tender and affecting, and bear away the soul of the auditor whithersoever they please. As the human countenance smiles on those that smile, so does it sympathize with those that weep. If you would have me weep you must first express the passion of grief yourself; then, Telephus or Peleus, your misfortunes hurt me: if you pronounce the parts assigned you ill, I shall either fall asleep or laugh.

Non satis est pulchra , etc. Bentley objects to pulchra because this, he says, is a general term including under it every species of beauty, and therefore that of dulcis or the affecting. As if general terms were not frequently restrained and determined to a peculiar sense by the context. But the great critic did not sufficietly attend to the connection, which, as F. Robertellus, in his paraphrase on the epistle, well observes, stands thus: "It is not enough, that tragedies have that kind of beauty which arises from a pomp and splendor of diction, they must also be pathetic or affecting."

Pathetic accents suit a melancholy countenance; words full of menace, an angry one; wanton expressions, a sportive look; and serious matter, an austere one. For nature forms us first within to every modification of circumstances; she delights or impels us to anger, or depresses us to the earth and afflicts us with heavy sorrow: then expresses those emotions of the mind by the tongue, its interpreter. If the words be discordant to the station of the speaker, the Roman knights and plebians will raise an immoderate laugh. It will make a wide difference, whether it be Davus that speaks, or a hero; a man well-stricken in years, or a hot young fellow in his bloom; and a matron of distinction, or an officious nurse; a roaming merchant, or the cultivator of a verdant little farm; a Colchian, or an Assyrian; one educated at Thebes, or one at Argos.

You, that write, either follow tradition, or invent such fables as are congruous to themselves. If as poet you have to represent the renowned Achilles; let him be indefatigable, wrathful, inexorable, courageous, let him deny that laws were made for him, let him arrogate every thing to force of arms Let Medea be fierce and untractable, Ino an object of pity, Ixion perfidious, Io wandering, Orestes in distress.

The connection lies thus: language must agree with character; character with fame, or at least with itself.

Section 125

If you offer to the stage any thing unattempted, and venture to form a new character; let it be preserved to the last such as it set out at the beginning, and be consistent with itself. It is difficult to write with propriety on subjects to which all writers have a common claim; and you with more prudence will reduce the Iliad into acts, than if you first introduce arguments unknown and never treated of before. A public story will become your own property, if you do not dwell upon the whole circle of events, which is paltry and open to every one; nor must you be so faithful a translator, as to take the pains of rendering [the original] word for word; nor by imitating throw yourself into straits, whence either shame or the rules of your work may forbid you to retreat. Nor must you make such an exordium, as the Cyclic writer of old: "I will sing the fate of Priam, and the noble war." What will this boaster produce worthy of all this gaping? The mountains are in labor, a ridiculous mouse will be brought forth. How much more to the purpose he, who attempts nothing improperly "Sing for me, my muse, the man who, after the time of the destruction of Troy, surveyed the manners and cities of many men." He meditates not [to produce] smoke from a flash, but out of smoke to elicit fire, that he may thence bring forth his instances of the marvelous with beauty, [such as] Antiphates, Scylla, the Cyclops, and Charybdis. Nor does he date Diomede's return from Meleager's death, nor trace the rise of the Trojan war from [Leda's] eggs: he always hastens on to the event; and hurries away his reader in the midst of interesting circumstances, no otherwise than as if they were [already] known; and what he despairs of, as to receiving a polish from his touch, he omits; and in such a manner forms his fictions, so intermingles the false with the true, that the middle is not inconsistent with the beginning, nor the end with the middle. Do you attend to what I, and the public in my opinion, expect from you [as a dramatic writer]. If you are desirous of an applauding spectator, who will wait for [the falling of] the curtain, and till the chorus calls out "your plaudits"; the manners of every age must be marked by you, and a proper decorum assigned to men's varying dispositions and years. The boy, who is just able to pronounce his words, and prints the ground with a firm tread, delights to play with his fellows, and contracts and lays aside anger without reason, and is subject to change every hour. The beardless youth, his guardian being at length discharged, joys in horses, and dogs, and the verdure of the sunny Campus Martius; pliable as wax to the bent of vice, rough to advisers, a slow provider of useful things, prodigal of his money, high-spirited, and amorous, and hasty in deserting the objects of his passion. [After this,] our inclinations being changed, the age and spirit of manhood seeks after wealth, and [high] connections, is subservient to points of honor; and is cautious of committing any action, which he would subsequently be industrious to correct. Many inconveniences encompass a man in years; either because he seeks [eagerly] for gain, and abstains from what he has gotten, and is afraid to make use of it; or because he transacts every thing in a timorous and dispassionate manner, dilatory, slow in hope, remiss, and greedy of futurity. Peevish, querulous, a panegyrist of former times when he was a boy, a chastiser and censurer of his juniors. Our advancing years bring many advantages along with them. Many our declining ones take away. That the parts [therefore] belong ing to age may not be given to youth, and those of a man to a boy, we must dwell upon those qualities which are joined and adapted to each person's age.

The rule is, as appears from the reason of the thing, and from Aristotle, "Let a uniformity of character be preserved, or at least a consistency": i. e. either let the manners be exactly the same from the beginning to the end of the play, as those of Medea, for instance, and Orestes; or, if any change be necessary, let it be such as may consist with, and be easily reconciled to, the manners formerly attributed, as is seen in the case of Electra and Iphigenia.

Difficile est proprie communia dicere. Lambin's comment is, Communia hoc loco appellat Horatius argumenta fabularum a nullo adhuc tractata: et ita, quae cuivis exposita sunt et in medio quadammodo posit, quasi vacua et a nemino occupata. And that this is the true meaning of communia is evidently fixed by the words ignota indictaque, which are explanatory of it.

Publica materies is just the reverse of what the poet had before styled communia: the latter meaning such subjects or characters as, though by their nature left in common to all, had yet, in fact, not been occupied by any writer; the former, those which had already been made public by occupation. In order to acquire a property in subjects of this sort, the poet directs us to observe the three following cautions: 1. Not to follow the trite, obvious round of the original work; i. e. not servilely and scrupulously to adhere to its plan of method. 2. Not to be translators, instead of imitators, i. e. if it shall be thought fit to imitate more expressly any part of the original, to do it with freedom and spirit, and without a slavish attachment to the mode of expression. 3. Not to adopt any particular incident that may occur in the proposed model, which either decency or the nature of the work would reject.

Scriptor cyclicus. Some author of the cyclus, described above, 1, 132. The chief Cyclic poems are the following: 1. τὰ Κύπρια, of Stasinus or Hegesinus. 2. The Αἰθιοπίσ of Arctinus. 3. The Ἰλιὰσ μικρά, by Lesches. 4. The Ἰλίου πέρσισ of Arctinus. 5. The Νόστοι attributed to Agias. 6. The Τηλεγονία of Eugammon. These were collected, more for the sake of philology than poetry, by the Alexandrine grammarians.

Quaerit = quaestus facit, as in In medium quaerebant.

He returns to his first division of human life into two parts. "Anni venientes," the years preceding manhood; "anni recedentes," the years going back toward old age and death. The ancients reckoned the former by addition: the latter by subtraction. The French have an expression like this of "recedentes anni." They say, "il est sur son retour," "he is upon his return," when a person is declining in years.

Semper in adjunctis. "Adjuncta aevo," every thing which attends age; "apta aevo," every thing proper to it.

An action is either represented on the stage, or being done elsewhere is there related. The things which enter by the ear affect the mind more languidly, than such as are submitted to the faithful eyes, and what a spectator presents to himself. You must not, however, bring upon the stage things fit only to be acted behind the scenes: and you must take away from view many actions, which elegant descrition may soon after deliver in presence [of the spectators]. Let not Medea murder her sons before the people; nor the execrable Atreus openly dress human entrails: nor let Progne be metamorphosed into a bird, Cadmus into a serpent. Whatever you show to me in this manner, not able to give credit to, I detest.

Facundia praesens. The recital of an actor present, which ought to be made with all the pathetic; facundia; or a recital instead of the action, facundia facti vicaria, quae rem quasi oculis praesentem sistit.

Section 189

Indoctus quid enim saperet liberque laborum,

Rusticus urbane confusus, turpis honesto?

Section 220

Indoctus quid enim saperet liberque laborum

Rusticus urbane confusus, turpis honesto

eo quod

Illecebris erat, et grata novitate morandus

Spectator, functusque sacris, et potus, et exlex.

Section 275

Thespis is said to have invented a new kind of tragedy, and to have carried his pieces about in carts, which [certain strollers], who had their faces besmeared with lees of wine, sang and acted. After him Aeschylus, the inventor of the vizard mask and decent robe, laid the stage over with boards of a tolerable size, and taught to speak in lofty tone, and strut in the buskin. To these succeeded the old comedy, not without considerable praise: but its personal freedom degenerated into excess and violence, worthy to be regulated by law; a law was made accordingly, and the chorus, the right of abusing being taken away, disgracefully became silent.

Thespis. A native of Icarius, a village in Attica, to whom the invention of the drama has been ascribed. Before his time there were no performers except the chorus. He led the way to the formation of a dramatic plot and language, by directing a pause in the performance of the chorus, during which he came forward and recited with gesticulation a mythological story. Comp. note . The date is thus given by the Par. Chron. Boeckh.: Ἀφ' οὖ Θέσπισ ὁ ποιητὴσ ἐφάνη, πρῶτοσ ὃσ ἑδίδαξε δρᾶμα ἐν ἄστει καὶ ἐτέθη ὁ τράγοσ ἆθλον ἔτη ΗΗΠΔΔ, ἄρχοντοσ Ἀθήνησιε Quod ad annum attinet, consistendum sane in Olymp. 61, eiusque tribus prioribus annis. Boeckh. in Chr.

Our poets have left no species [of the art] unattempted; nor have those of them merited the least honor, who dared to forsake the footsteps of the Greeks, and celebrate domestic facts; whether they have instructed us in tragedy, or comedy. Nor would Italy be raised higher by valor and feats of arms, than by its language, did not the fatigue and tediousness of using the file disgust every one of our poets. Do you, the descendants of Pompilius, reject that poem, which many days and many a blot have not ten times subdued to the most perfect accuracy. Because Democritus believes that genius is more successful than wretched art, and excludes from Helicon all poets who are in their senses, a great number do not care to part with their nails or beard, frequent places of solitude, shun the baths. For he will acquire, [he thinks,] the esteem and title of a poet, if he neither submits his head, which is not to be cured by even three Anticyras, to Licinius the barber. What an unlucky fellow am I, who am purged for the bile in spring-time! Else nobody would compose better poems; but the purchase is not worth the expense. Therefore I will serve instead of a whetstone, which though not able of itself to cut, can make steel sharp: so I, who can write no poetry myself, will teach the duty and business [of an author]; whence he may be stocked with rich materials; what nourishes and forms the poet; what gives grace, what not; what is the tendency of excellence, what that of error.

Vel qui praetextas, vel qui docuere togatas. There hath been much difficulty here in settling a very plain point. The question is, whether praetextas means tragedy or a species of comedy. The answer is very clear from Diomedes, whose account is, in short, this: "Togatae is a general term for all sorts of Latin plays adopting the Roman customs and dresses; as Palliatae is for all adopting the Grecian. Of the Togatae, the several species are, 1. Praetexta or praetextata, in which the Roman kings or generals were introduced, and is so called because the praetexta was the distinguishing habit of such persons; 2. Tabernaria, frequently called Togata, though that word, as we have seen, had properly a larger sense. 3. Atellana. 4. Planipedis." He next marks the difference of these several sorts of the Togatae from the similar corresponding ones of the Palliatae, which are these: 1. "Tragoedia, absolutely so styled. 2. Comoedia. 3. Satyri. 4. μῖμοσ." (These four sorts of the Palliatae were also probably in use at Rome; certainly, at least, the two former.) It appears then from thence, that praetextata was properly the Roman tragedy. But he adds, "Togata praetextata a tragoedia differt" and it is also said, "to be only like tragedy, tragoediae similis." What is this difference and this likeness? The explanation follows. "Heroes are introduced into tragedy, such as Orestes, Chryses, and the like. In the praetextata, Brutus, Decius, or Marcellus." So then we see when Grecian characters were introduced, it was called simply tragoedia; when Roman, praetextata; yet both, tragedies. The sole difference lay in the persons being foreign or domestic. The correspondence in every other respect was exact. The same is observed of the Roman comedy; when it adopted Greek characters, it was called comoedia; when Roman, togata tabernaria, or togata, simply.

Section 309

To have good sense, is the first principle and fountain of writing well. The Socratic papers will direct you in the choice of your subjects; and words will spontaneously accompany the subject, when it is well conceived. He who has learned what he owes to his country, and what to his friends; with what affection a parent, a brother, and a stranger, are to be loved; what is the duty of a senator, what of a judge; what the duties of a general sent out to war; he, [I say,] certainly knows how to give suitable attributes to every character. I should direct the learned imitator to have a regard to the mode of nature and manners, and thence draw his expressions to the life. Sometimes a play, that is showy with common-places, and where the manners are well marked, though of no elegance, without force or art, gives the people much higher delight and more effectually commands their attention, than verse void of matter, and tuneful trifles. To the Greeks, covetous of nothing but praise, the muse gave genius; to the Greeks the power of expressing themselves in round periods. The Roman youth learn by long computation to subdivide a pound into an hundred parts. Let the son of Albinus tell me, if from five ounces one be subtracted, what remains? He would have said the third of a pound. Bravely done! you will be able to take care of your own affairs. An ounce is added: what will that be? Half a pound.

Truth, in poetry, means such an expression as conforms to the general nature of things; falsehood, that which, however suitable to the particular instance in view, doth yet not correspond to such general nature. To attain to this truth of expression in dramatic poetry two things are prescribed: 1. A diligent study of the Socratic philosophy; and, 2, A masterly knowledge and comprehension of human life. The first, because it is the peculiar distinction of this school "ad veritatem vitae propius accedere." And the latter as rendering the imitation more universally striking.

Interdum speciosa locis , etc. The poet's science in ethics will principally show itself in these two ways: 1. in furnishing proper matter for general reflection on human life and conduct; and, 2, in a due adjustment of the manners. By the former of these two applications of moral knowledge a play becomes, what the poet calls, speciosa locis, i. e. (for the term is borrowed from the rhetoricians) striking in its moral topics: a merit of the highest importance on the ancient stage, and which, if prudently employed in subserviency to the latter more essential requisite of the drama, a just expression of the manners, will deserve to be so reputed at all times, and on every theater. The danger is, lest a studied, declamatory moral, affectedly introduced, or indulged to access, should prejudice the natural exhibition of the characters, and so convert the image of human life into an unaffecting, philosophical dialogue.

Moratque recta fabula , etc. This judgment of the poet, in regard of the superior efficacy of manners, is generally thought to be contradicted by Aristotle; who, in treating this subject, observes, "that let a piece be ever so perfect in the manners, sentiments, and style, it will not so well answer the end and purpose of tragedy, as if defective in these, and finished only in the fable and composition." M. Dacier thinks to clear this matter by saying, "that what Aristotle remarks holds true of tragedy, but not of comedy, of which alone Horace is here speaking." But granting that the artificial contexture of the fable is less necessary to the perfection of comedy than of tragedy, yet, the tenor of this whole division, exhorting to correctness in general, makes it unquestionable that Horace must intend to include both. The case, as it seems to me, is this. The poet is not comparing the respective importance of the fable and manners, but of the manners and diction, under this word including also numbers. He gives them the preference not to a good plot, nor even to fine sentiments, but to versus inopes rerum nugaeque canorae . The art he speaks of, is the art of expressing the thoughts properly, gracefully, and harmoniously: the pondus is the force and energy of good versification. Venus is a general term including both kinds of beauty. Fabula does not mean the fable (in distinction from the rest), but simply a play.

When this sordid rust and hankering after wealth has once tainted their minds, can we expect that such verses should be made as are worthy of being anointed with the oil of cedar, and kept in the well-polished cypress?

Aerugo et cura peculi cum semel imbuerit , etc. This love of gain, to which Horace imputes the imperfect state of the Roman poetry, hath been uniformly assigned, by the wisdom of ancient times, as the specific bane of arts and letters. Longinus and Quinctilian account, from hence, for the decay of eloquence, Galen of physic, Petronius of painting, and Pliny of the whole circle of the liberal arts. For being, as Longinus calls it, νόσημα μικροποῖον, a disease which narrows and contracts the soul, it must, of course, restrain the generous efforts and expansions of genius; cramp the free powers and energies of the mind, and render it unapt to open itself to wide views, and to the projection of great, extensive designs. It is so in its consequences. For, as one says elegantly, when the passion of avarice grows general in a country, the temples of honor are soon pulled down, and all men's sacrifices are made to fortune.

To preserve their books, the ancients rubbed them with oil of cedar, and kept them in cases of cypress, because these kinds of wood were not liable to corruption.

Poets wish either to profit or to delight; or to deliver at once both the pleasures and the necessaries of life. Whatever precepts you give, be concise; that docile minds may soon comprehend what is said, and faithfully retain it. All superfluous instructions flow from the too full memory. Let whatever is imagined for the sake of entertainment, have as much likeness to truth as possible; let not your play demand belief for whatever [absurdities] it is inclinable [to exhibit]: nor take out of a witch's belly a living child that she had dined upon. The tribes of the seniors rail against every thing that is void of edification: the exalted knights disregard poems which are austere. He who joins the instructive with the agreeable, carries off every vote, by delighting and at the same time admonishing the reader. This book gains money for the Sosii; this crosses the sea, and continues to its renowned author a lasting duration.

Omne tulit punctum. Alluding to the manner of voting at the comitia by putting a point over the name of a candidate.

Section 347

Yet there are faults, which we should be ready to pardon: for neither does the string [always] form the sound which the hand and conception [of the performer] intends, but very often returns a sharp note when he demands a flat; nor will the bow always hit whatever mark it threatens. But when there is a great majority of beauties in a poem, I will not be offended with a few blemishes, which either inattention has dropped, or human nature has not sufficiently provided against. What therefore [is to be determined in this matter]? As a transcriber, if he still commits the same fault though he has been reproved, is without excuse; and the harper who always blunders on the same string, is sure to be laughed at; so he who is excessively deficient becomes another Choerilus; whom, when I find him tolerable in two or three places, I wonder at with laughter; and at the same time am I grieved whenever honest Homer grows drowsy But it is allowable, that sleep should steal upon [the progress of] a long work.

As is painting, so is poetry: some pieces will strike you more if you stand near, and some, if you are at a greater distance: one loves the dark; another, which is not afraid of the critic's subtle judgment, chooses to be seen in the light; the one has pleased once the other will give pleasure if ten times repeated. 0 ye elder of the youths, though you are framed to a right judgment by your father's instructions, and are wise in yourself, yet take this truth along with you, [and] remember it; that in certain things a medium and tolerable degree of eminence may be admitted: a counselor and pleader at the bar of the middle rate is far removed from the merit of eloquent Messala, nor has so much knowledge of the law as Casselius Aulus, but yet he is in request; [but] a mediocrity in poets neither gods, nor men, nor [even] the booksellers' shops have endured. As at an agreeable entertainment discordant music, and muddy perfume, and poppies mixed with Sardinian honey give offense, because the supper might have passed without them; so poetry, created and invented for the delight of our souls, if it comes short ever so little of the summit, sinks to the bottom.

This judgment, however severe it may seem, is according to the practice of the best critics. We have a remarkable instance in the case of Apollonius Rhodius, who though, in the judgment of Quinctilian, the author of no contemptible poem, yet on account of that equal mediocrity which every where prevails in him, was struck out of the list of good writers by such sovereign judges of poetical merit as Aristophanes and Aristarchus. ()

Sardinia was full of bitter herbs, from whence the honey was bitter. White poppy seed, roasted, was mingled with honey by the ancients.

He who does not understand the game, abstains from the weapons of the Campus Martius: and the unskillful in the tennis-ball, the quoit, and the troques keeps himself quiet; lest the crowded ring should raise a laugh at his expense: notwithstanding this, he who knows nothing of verses presumes to compose. Why not! He is free-born, and of a good family; above all, he is registered at an equestrian sum of moneys, and clear from every vice. You, [I am persuaded,] will neither say nor do any thing in opposition to Minerva: such is your judgment, such your disposition. But if ever you shall write any thing, let it be submitted to the ears of Metius [Tarpa], who is a judge, and your father's, and mine; and let it be suppressed till the ninth year, your papers being laid up within your own custody. You will have it in your power to blot out what you have not made public: a word once sent abroad can never return.

Invita … Minerva . , explains this phrase: "adversante et repugnante natura." And yet the meaning here is not very evident. Does Horace say that young Piso will neither do nor say any thing contrary to his natural endowments; implying that he will not attempt poetry, as his abilities are inadequate? Or does he mean to compliment him on his capabilities, by saying that there is nothing which he will attempt, in which genius will not favor and assist him? The latter appears to be the correct interpretation. Thus the obvious meaning of invita Minerva is — Minerva refusing her assistance, or discountenancing the attempt; and the interpretation-natural endowments refusing their assistance, or marring the effort.

Section 391

Orpheus, the priest and interpreter of the gods, deterred the savage race of men from slaughters and inhuman diet; hence said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion. This was deemed wisdom of yore, to distinguish the public from private weal; things sacred from things profane; to prohibit a promiscuous commerce between the sexes; to give laws to married people; to plan out cities; to engrave laws on [tables of] wood. Thus honor accrued to divine poets, and their songs. After these, excellent Homer and Tyrtaeus animated the manly mind to martial achievements with their verses. Oracles were delivered in poetry, and the economy of life pointed out, and the favor of sovereign princes was solicited by Pierian strains, games were instituted, and a [cheerful] period put to the tedious labors of the day; [this I remind you of,] lest haply you should be ashamed of the lyric muse, and Apollo the god of song.

i. e. strains of the muses, surnamed Pierides

It has been made a question, whether good poetry be derived from nature or from art. For my part, I can neither conceive what study can do without a rich [natural] vein, nor what rude genius can avail of itself: so much does the one require the assistance of the other, and so amicably do they conspire [to produce the same effect]. He who is industrious to reach the wished-for goal, has done and suffered much when a boy; he has sweated and shivered with cold; he has abstained from love and wine; he who sings the Pythian strains, was first a learner, and in awe of a master. But [in poetry] it is now enough for a man to say of himself:— "I make admirable verses: a murrain seize the hindmost: it is scandalous for me to be outstripped, and fairly to acknowledge that I am ignorant of that which I never learned."

Pythia cantica , songs like the hymns which were sung in honor of Apollo, by the chorus in some comedies. A player, called Pythaules, played during the intervals when the chorus left off singing.

Section 419

'Calidum scis ponere sumen,

Scis comitem horridulum trita donare lacerna,'

Section 453

Like one whom an odious plague or jaundice, fanatic phrensy or lunacy, distresses; those who are wise avoid a mad poet, and are afraid to touch him; the boys jostle him, and the incautious pursue him. If, like a fowler intent upon his game, he should fall into a well or a ditch while he belches out his fustian verses and roams about, though he should cry out for a long time, "Come to my assistance, 0 my countrymen;" not one would give himself the trouble of taking him up. Were any one to take pains to give him aid, and let down a rope; "How do you know, but he threw himself in hither on purpose?" I shall say: and will relate the death of the Sicilian poet. Empedocles, while he was ambitious of being esteemed an immortal god, in cold blood leaped into burning Aetna. Let poets have the privilege and license to die [as they please]. He who saves a man against his will, does the same with him who kills him [against his will]. Neither is it the first time that he has behaved in this manner; nor, were he to be forced from his purposes, would he now become a man, and lay aside his de sire of such a famous death. Neither does it appear sufficiently, why he makes verses: whether he has defiled his father's ashes, or sacrilegiously removed the sad enclosure of the vindictive thunder: it is evident that he is mad, and like a bear that has burst through the gates closing his den, this unmerciful rehearser chases the learned and unlearned. And whomsoever he seizes, he fastens on and assassinates with recitation: a leech that will not quit the skin, till satiated with blood.

Ardentem frigidus Aetnam insiluit. "In cold blood, deliberately." Horace, by playing on the words ardentum frigidus, would show that he did not believe the story, and told it as one of the traditions, which poets may use without being obliged to vouch the truth of them. The pleasantry continues, when he says, it is murder to hinder a poet from killing himself; a maxim, which could not be said seriously.

An triste bidental . What crime must that man have committed whom the gods in vengeance have possessed with a madness of writing verses? Bidental was a place struck with lightning, which the aruspices purified and consecrated with a sacrifice of a sheep, bidental. It was an act of sacrilege ever to remove the bounds of it, movere bidental.

In concluding the annotations on the Art of Poetry, I must beg to recommend to the reader's notice my translation of , with a collection of notes, as the two treatises contribute to each other's illustration in the fullest extent.

Sources: English: Perseus Digital Library · Latin: Perseus Digital Library

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