17. tu. He singles out an imaginary subject for the second picture, and addresses him (using the second person as he has used the first for the sake of vividness, though he is describing a class) as though his crimes were acting before our eyes. Cp. 3. 24. 1-8.

secanda, probably of cutting the marble into slabs for the pavement, walls, &c. This was looked upon as a great invention of luxury, see Plin. N. H. 36. 6 Primum marmoreos parietes habuit scena M. Scauri aedilis, non facile dixerim sectos an solidis glebis positos: nondum enim secti marmoris vestigia in Italia. Sed quisquis primum invenit secare luxuriamque dividere importuni ingenii fuit.'

18. locas, enter into contracts with the redemptor,' Od. 3. 1. 35, Epp. 2.2. 27.

20. urges, for the common accusative, such as 'opus,' Hor. substitutes the infinitive, of the work which is pressed on with this per

severance.

21. summovere litora, to thrust the shore forward, bid it move further on.

22. 'Not rich enough to thy taste in the possession of the shore of the mainland.'

continente is also taken as 'adjoining.' Orelli supports the present use by Liv. 44. 28 continenti litore.'

ripa, of the seashore, as in 3. 27. 23.

23. quid quod, used always to introduce some stronger argument or charge. Here it is equivalent to 'Nay, worse!'

usque proximos, τοὺς ἀεὶ ὁμόρους.

24. revellis, Fest. in v. Terminus Numa Pompilius statuit eum qui terminum exararet et ipsum et boves sacrum esse.'

25. clientium. Virgil places among the blackest crimes punished in Tartarusfraus innexa clienti,' Aen. 6. 609. Cp. the law of the Twelve Tables, Patronus si clienti fraudem fecerit sacer esto.'

26. salis, of the levity with which the crime is committed, as if the client's right was no obstacle at all. Compare the use of transilire,' 1. 3. 24, 1. 18. 7.

pellitur, the construction of the singular is to be classed with those collected on 1. 3. 10.

27, 28. deos . . natos. It is all that is left to them. 'Paternos' gives the additional aggravation that the home they are driven from is where their fathers dwelt before them. 'Sordidos' makes the case harder by noting their poverty.

29. Yet no mansion more certainly awaits the wealthy master than that one traced out for him by the limit of Orcus greedy as himself.' 'Destinata' agrees with an ablative 'aula,' understood. Conington points out that the phraseology, 'aula,' 'destinata,' 'rapacis,' is chosen

so as to suggest a comparison between Death and the dives herus' himself (see on 3. 24. 5), '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.'

30. Orci fine. Ritter takes this as a local ablative = 'in finibus Orci,' quoting for the singular, Od. 1. 34. 11'Atlanteus finis.' It is more probably instrumental, by the limit of Orcus' being equivalent to by Orcus, who sets a limit to all things.' 'Mors ultima linea rerum,' Epp. 1. 16. 79. There may be a remembrance of the Gr. TÉXOS Oavárolo. That it should interfere to some extent with the personification would not, in interpreting Horace, be a fatal objection (see on 1. 35. 21, 2. 16. 21). 'Destinare' is especially used of tracing out the Bentley quotes the Culex 391 'Conformare locum capit impiger hunc et in orbem Destinat.'

site for a building.

Other ways of taking the lines are: (1) to make 'destinata' agree with 'fine' in the sense of than the end of Orcus already traced for him'; (2) to take 'destinata' as a nominative with 'aula,' 'no house that he has planned awaits him more surely than the end of Orcus'; (3) with Bentley to understand certior' of the comparative certainty of death to the rich and the poor. Nulla certior (h. e. non certior) aula manet divitem herum [quam pauperem clientem] designata et descripta termino ipsius Orci (h. e. acque spatiosa ac ipse Orcus).' All these sacrifice a good deal of the personification of Orcus, which seems to be implied in the remainder of the Ode, Bentley's most of all, so much so that he wishes to read' capacis.' It is to be observed that his interpretation really necessitates this change, and this necessity is fatal to it. Death must, on his view, be represented as a boon, otherwise the sentence should have run 'non certior manet pauperem quam divitem.'

32. quid ultra tendis recalls the fine,' 'Death has set the limit, why do you try to overpass it'?

32-end. Nothing excludes and nothing exempts.' The equality is enforced in the first clause by the opposition, the pauper and the prince'; in the second by the accumulation of the qualities that might be expected to make a difference, 'no wit, no wealth'; in the third and fourth by the double contrast (which has a direct application to the oppressor) between proud Tantalus and his mythic race who would escape death if they could, and the poor man who looks to it as the end of his toils. The matter is clenched by the suggestion of the last line that even for the poor man it is no matter of choice.

35. Promethea, see on 2. 13. 37. We seem to have a fresh point added to the legend here. The satelles Orci' is Charon, as appears

from the verb 'revexit.'

36. hic, Orcus.

Vocatus,' &c., would hardly suit Charon.

38. levare, after 'vocatus.'

40. The form is like Thucyd. 1. 118 avròs (Apollo) ěpn ¿vàλý‡eobai καὶ παρακαλούμενος καὶ ἄκλητος. Halm (in the third edition of Orelli) suggests that Horace was thinking of Aesop's fable of the old man and Death, though the point there is different.

ODE XIX.

The poet imagines himself (vv. 1-4) to have come, while wandering in the hills, on Bacchus amidst the Nymphs and Satyrs. He describes dramatically as though he felt them at the moment) the effects of the sight the fresh terror (xaλewoì dè deoì paíveobai èvapyeîs, Hom. Il. 20. 131), the rush of inspiration; delightful, yet half painful, from its tumultuous excitement. Then he finds the way of relief. He may sing the praises of Bacchus; of his power to bless those whom he loved and destroy his enemies; his power over inanimate nature, over noxious beasts, over the giants, over the monsters of Hades.

Compare Od. 3. 25. They both seem to be attempts to catch something of the inspiration of a Greek dithyramb. That Ode has a purpose; the present one is a mere study. There is no reason to believe that it is a reproduction of any single original. The art of its composition, the climax through which the celebration of Bacchus' triumph rises, and the studiedly quiet conclusion after the abrupt bursts of the beginning, as though the strained mind had found relief and the 'turbida laetitia' run itself clear, are Horatian rather than Greek.

Dill. suggests that Horace had been lately reading Euripides' Bacchae. That he had read it is pretty certain.

Line 1. remotis, absolute, 'far away from the ways of men.' rupibus: he is a mountain god, Soph. O. T. 1105.

2. credite posteri, cp. Epod. 9. 11 'posteri negabitis.'

3. aures acutas. The epithet is for the eye; 'the sharp-pointed ears.' That the Satyrs were listening is implied in the selection of their ears as the part which the poet saw. For the Nymphs and Satyrs in this conjunction see 1. 1. 31 Nympharumque leves cum Satyris chori.' 6. turbidum laetatur. Meineke compares an expression of Pherecrates, Fr. 2 γελῶντα καὶ χαίροντα καὶ τεθολωμένον.

7. parce Liber. He prays the god to moderate the violence of the overmastering veovσiaσμós, not to strike him with the terrible thyrsus, the blows of which inspired the Bacchic frenzy.

9. fas.. est. Bentley was dissatisfied with the boldness of this assertion following on the 'trepidat' and 'parce,' and wished to read 'sit.' But see what has been said in the Introduction to the Ode. It is the expression of joy at finding a vent for his overwrought feelings. pervicaces, 'untiring.'

Thyiadas (from ove), a name of the Bacchantes.

10. Cp. Eur. Bacch. 7ο6 foll. "Αλλη δὲ νάρθηκ ̓ ἐς πέδον καθῆκε γῆς, καὶ τῇδε κρήνην ἐξάνηκ ̓ οἶνου θεός· ὅσαις δὲ λευκοῦ πώματος πόθος παρῆν, | ἄκροισι δακτύλοισι διαμῶσαι χθόνα | γάλακτος ἑσμοὺς εἶχον· ἐκ δὲ κισσίνων | θύρσων γλυκεῖαι μέλιτος ἔσταζον ῥοαί. See also ib. 142.

11. truncis cavis. The resemblance to the passage just quoted from Eur. Bacch. makes it very probable that 'trunci' is used here of the hollow thyrsus. If it is of the trunks of trees, compare the golden age in Virg. E. 4. 30, when 'durae quercus sudabunt roscida mella.'

13. beatae, predicative. The song is to be of Ariadne's apotheosis, as well as of the transformation of her crown into a star.

14. honorem, her ornament, her crown, the 'Gnosia ardentis stella coronae,' Virg. G. 1. 222. See the story in Ov. Met. 8. 176. For the use of honos,' cp. Virg. Aen. 7. 814 'regius ostro Velet honos humeros.'

tecta Penthei, Eur. Bacch. 633 δώματ' ἔῤῥηξεν χαμάζε συντεθράνωται δ ̓ ἅπαν.

16. Lycurgi, Hom. Il. 6. 130 foll., Soph. Ant. 955.

17. This refers to his conquest of India. The powers of nature aided him in the enterprise; the Orontes and Hydaspes turned their streams at the touch of his thyrsus that he might cross them, and the sea grew calm before him. Nonnus Dionysiaca 13. 123.

flectis can only be used of 'mare' by a zeugma.

barbarum, sc. 'Rubrum vel Indicum.'

18. separatis, as 'remotis,' v. I.

uvidus, opposed to 'siccus, 4. 5. 39; βεβρεγμένος, μέθῃ βρεχθείς, Eur. El. 326.

20. Bistonidum. The Bistones (fem. Bistonis, plur. Bistonides) were a tribe of Thrace, a chief home of the Dionysiac cultus. Bacchus is represented as twisting vipers in their hair without injury to himself or them (sine fraude,' cp. Carm. S. 41). Cp. Eur. Bacch. 101 foll. 23. Rhoetum, 3. 4. 55. Nauck thinks that Rhoetus owes his selection to the assonance Rhoetum retorsisti.'

leonis, actually in the form of a lion. See Hom. Hymn. 6. 44, Eur. Bacch. 1o19 φάνηθ . . πυρφλέγων ὁρᾶσθαι λέων.

25. quamquam, qualifying what precedes, and yet.' 'Sed' is again adversative to this concession.

28. mediusque. The 'que' misplaced, as in v. 32; see on 1. 30. 6. It is a question whether idem' or 'medius' is the main predicate. In the former case the verse will mean, Thou wast the same (i.e. equally vigorous and successful) in the midst of peace and in the midst of war.' In the latter we must interpret with Orelli, ' medius'='midway between peace and war,' meaning 'equally adapted for peace and war.' No real parallel has been quoted for the expression; the sense is the same as Virgil's 'pacisque bonas bellique ministras,' Aen. 11. 658, quoted by Orelli.

29. insons, without attempting to harm you.

aureo cornu, as Bacchus is represented on the stage, Eur. Bacch. 920-922. Cp. ib. 100.

30. atterens, wagging his tail, moving it from side to side on the ground-oaivav-in pleased recognition at Bacchus' approach; or = atterens tibi,' of a dog rubbing itself against a master or friend. It is not the same action as Virgil's 'caudamque remulcens subiecit pavitantem utero' (Aen. 11. 812) of a wolf slinking away in terror.

31. trilingui ore, probably the tongue of each of his three mouths, as Virgil's latratu trifauci,' Aen. 6. 417. See on 2. 13. 33. For the intentional dulness of this stanza see Introd. and cp. the end of 3. 5.

ODE XX.

'Horace will stay no longer on earth; he will mount into the clear air of heaven and laugh at his detractors. He whom the envious world despises, but whom Maecenas loves, will not die the common death of men. Already he feels himself changing to a swan. All the world shall see him and hear his music : funeral rites have no meaning for him.'

The Ode may be described as an amplification of Ennius' epitaph on himself:

'Nemo me lacrymis decoret, neque funera fletu
Faxit. Cur? volito vivus per ora virum.'

Compare Virgil's imitation of the same (G. 3. 8):

'Tentanda via est qua me quoque possim

Tollere humo victorque virum volitare per ora.'

The Ode doubtless owes its place at the end of a Book to its general reference to Horace and his lyric fame; but it does not look as if it had been written for such a purpose, as Od. 3. 30, Epp. 1. 20. Its feeling seems really to lie in vv. 4–8.