lippi, probably in a moral sense 'purblind': cp. Sat. 1. 3. 25, where it is part of a definite metaphor, and see Conington on Pers. S. 1. 79. Bentley, taking it literally, and thinking that Horace could not ridicule in another an infirmity which attached to himself (Sat. 1. 5. 30), wished to read 'lippum.'

SATIRE II

A FOOL'S WAY OF AVOIDING ONE FOLLY IS TO FALL INTO ANOTHER

THIS is the text of the lines here printed, and, though the thread is not kept perfectly, of the rest of the Satire. It is a text on which Horace is fond of dwelling-we have already had it in Sat. I. IOI f.

The general view is no doubt right which makes this a specimen of Horace's earliest attempts at Satire. It is the Satire which, by quoting v. 27 in Sat. 1. 4. 92, he makes the typical instance of the personal attacks by which he had raised alarm and enmity. The Scholiasts tell us that the real Maltinus of v. 25 was Maecenas. If this tradition is true, it must follow that the Satire was written before Horace had made Maecenas' acquaintance, and that it was by Maecenas' wish that the line was left as it had stood. Such a liberty was certainly never repeated.

For the Tigellius of v. 3 see introduction to the next Satire.

1. Ambubaiarum. The word occurs again in a similar connexion in Suet. Ner. 27' ambubaiarum ministeria.' It is explained by the Scholiasts as a designation of Syrian women who played the flute, from the Syriac name of the instrument. Cp. Juv. 3. 62 'Iam pridem Syrus in Tiberim defluxit Orontes Et linguam et mores et cum tibicine chordas... Vexit.'

collegia, 'guilds,' 'fraternities,' a term used ironically.

pharmacopolae: vendors of drugs. They would have a bad name both as quacks and as purveyors of poison: such a 'pharmacopola circumforaneus' is mentioned as an agent in murder in Cic. Clu. 14. 40.

2. balatrones. The word 'balatro' occurs in Lucretius 3. 955, where it is a word of contempt. In Sat. 2. 8. 21 it is the name or nickname of a 'scurra,' Servilius Balatro. It is perhaps the same word as 'blatero,' and so meant properly an idle or random talker. It is usually taken here as the designation of some class of mime

actors.

4. quippe gives their reason, and in their own words, and like 'scilicet' with a tone of irony. They called him 'generous.' hic as 'hunc' in v. 7' another.'

8. ingrata, 'thankless,' 'insatiable.'

stringat: as a bough is stripped of leaves.

9. conductis, 'borrowed,' as Juv. S. 11. 46 'conducta pecunia.' II. laudatur ab his, as Tigellius by the street-singers, &c. The point is not that his conduct is variously judged, but that he only attains the praise of one party at the expense of incurring blame from another. In his dread of being thought mean he becomes extravagant.

12. Fufidius, avarus quidam fenerator' Schol.

vappae ac nebulonis: Sat. I. I. 104.

13. The line recurs in A. P. 421. For positis cp. Epod. 2. 70. 14. quinas mercedes: five interests, i. e. five times the usual interest, which was 'centesimae usurae,' one per cent. per month, or 12 per cent. per annum. With the expression cp. 'binae centesimae,' i. e. 24 per cent. Cic. Verr. 2. 3. 71. 165.

capiti exsecat. Porph. explained, 'slices off,' 'deducts from the capital,' i. e. in lending the money he deducts at once the first month's interest. It is otherwise taken in a more general sense as a stronger form of 'extorquet.' In that case it recalls Seneca's phrase (Benef. 7. Fo) sanguinolentas usuras,' that draw blood." He draws from his principal, even if it takes a knife to do it, five times the usual interest.'

16. nomina sectatur: i. e. he tries to get their names into his books as borrowers. Cp. Epp. 2. 1.105 'cautos nominibus rectis

nummos.'

17. tironum. The words 'tiro' and 'tirocinium' are used frequently of the moment when a young man exchanged the 'praetexta' for the toga pura' or 'virilis,' and especially of a ceremony with which the change was accompanied when he was led into the Forum by his father, ' deductus in Forum tiro,' Suet. Ner. 7. 19. pro, in proportion to.'

20. pater ille: Menedemus in the Heautontimorumenus.

24. The key line of the Satire. Cp. the argument in Sat. I. I. 101 foll. It is implicitly the Aristotelian doctrine of virtue lying in the mean: see Epp. 1. 18. 9.

25. Maltinus. The MSS. and the Scholiasts are divided between the forms Maltinus (or Malthinus) and Malchinus. Maltinus is said to be derived from 'malta,' a Lucilian word for an effeminate person, but Maltinus is a Roman name found in history and in inscriptions. For the traditional reference of the line to Maecenas see Introduction. Seneca, Epist. 114. 6, says that it was recorded of Maecenas that he always walked in Rome 'solutis tunicis.' est qui: sc. 'ambulat.'

26. facetus: it is his idea of elegance to wear a tunic so short as to be indecent.

27. pastillos dim. of ' panis,' of lozenges meant to perfume the breath. Cp. Mart. 1. 87. 1'Ne gravis hesterno fragres, Fescennia, vino, Pastillos Cosmi luxuriosa voras.' The line is quoted in Sat. 1. 4. 92 as a specimen of Horace's personal satire.

SATIRE III

SATIRE IS ONE THING, PERSONAL CENSORIOUSNESS ANOTHER

HORACE begins with a satirical picture of Tigellius as the type of a character made up of contradictions and inconsistencies (vv. 1-19).

He supposes himself interrupted (v. 19) with the question 'Have you no faults of your own?'

vv. 20-28. I pretend, he answers, to no immunity. That is the vice of the censorious in private life. They are blind to their own faults, keen of sight to their neighbours'.

29-37. Little faults of temper or manner or dress overshadow sterling merits.

38-40. Contrast the lover turning his mistress's defects into beauties.

41-54. If friendship cannot go as far as that, it can imitate a father making the best of his boy's deformities.

55-66. But we even turn virtues into vices.

66-69. This censoriousness recoils on ourselves-for we have our own faults too.

69-75. We need (1) mutual forbearance.

76-79.

faults.

(2) some discrimination of the relative gravity of

80-95. We see this in other cases. We should think a man mad who crucified a slave for a peccadillo. Is it not worse to break off a friendship because of some trifling accident or impropriety? What are we to do when it comes to graver offences?

96-98. The Stoic indeed will tell you that all offences are equal; but this doctrine will not square with life, neither with moral feeling nor with utility, the true basis of moral distinction. 99-112. Historically the sense of justice is posterior to the experience of injustice.

113-117. The Stoic is wrong in assuming a natural criterion of right and wrong, wrong in his conclusion that one breach of law is as bad as another.

117-124. We need a just apportionment of punishment to offence. Not that I fear too great leniency. It is the rule of Draco that we are promised when the Stoic is king.

124-126. 'When he is king,' do I say? Why, he is king, so he tells us, as he is everything else that is good.

126-133. A Stoic is supposed to reply, 'You forget Chrysippus explanation of the paradox.'

133-142. 'Well,' Horace answers, 'it is a poor sovereignty. It does not save you from humiliations. No one recognizes it except Crispinus. I shall leave you your throne, contented for myself to live on terms of mutual forbearance with my unphilosophical friends.'

The connexion of vv. 1-19 with the rest of the poem is not made perfectly clear; but the comparison in the following Satire (vv. 78103), between the innocent sallies of Satire, half playful and directed against types rather than persons, and the licence given to real malignity in private conversation, seems to show that this is the link here also, and the true subject of the Satire.

The musician Tigellius of this Satire (vv. 3-19) and of the last (vv. 1-4) is identified with the Tigellius of Cicero's letters (ad Att. 13. 49, 50, and 51, ad Fam. 7. 24). He was the nephew (or grandson) of Phamea (named in these letters and ad Att. 9. 9; 9. 13, and ad Fam. 9. 16), a rich freedman from Sardinia. He had quarrelled with Cicero because he thought him slack in a cause of Phamea's which the great orator had undertaken, but was prevented from pleading by the fact that the case of P. Sestius came on the same day. We gather from the letters that he was a favourite of the dictator Caesar. Cicero speaks (to Gallus, ad Fam. 7. 14) with contempt of his Sardinian origin, 'hominem pestilentiorem patria sua.' Habes Sardos venalis: alium alio nequiorem.' He calls him 'salaconem' (σadáкwva), 'a swaggerer,' and speaks of him as 'addictum Calvi Licinii Hipponacteo praeconio.' Porph. (on this Satire, v. 1) has preserved a line of that lampoon, 'Sardi Tigelli putidum caput venit.'

The Scholiasts identify him with the 'Hermogenes Tigellius' of 1. 4. 72, I. 10. 80, the 'Hermogenes' of v. 129 of this Satire and of 1.9 25, I. 10. 18, and the ‘Tigellius' of Sat. 1. 10. 90. It seems clear however that this was another and a younger person. The Tigellius of Sat. 1. 2. 3 and 1. 3. 4 is already dead. The Hermogenes Tigellius of I. 4. 72 and 1. 10. 80 is still alive, although Sat. 1. 4 contains internal evidence of having been composed later than Sat. 1. 2 (cp. 1. 2. 27 and 1. 4. 92), and Sat. I. 10 of having been composed later than Sat. I. 4 (see I. 4. II and I. 10. 50). We may add that whereas the elder Tigellius was lampooned by Calvus, Hermogenes Tigellius in Sat. 1. 10. 19 is said to sing Calvus's songs.

2. cantare: an instance of the government ȧrò коwoû. It follows both inducant animum' and 'rogati'; see on Od. 1. 3. 6.

Its

3. Sardus. See the quotations in the introd. to this Satire. emphatic position shows that the epithet is meant to be contumelious: a true Sardinian.'

habebat hoc. Cic. Phil. 2. 32. 78 ‘habebat hoc omnino Caesar,’ 'this was his way.' It is a colloquialism.

4. qui posset, though he could.'

5. peteret... proficeret.

Often referred to as instances of the

impft. for the plpft. subj.: but is it not rather an instance of the pure hypothetical 'si petat... proficiat,' thrown into a past tense, the force of the subj. being not to express a doubt, but to generalize; ' if at any time he asked he would gain nothing'? Cp. the Greek use of av with the impft. answering to the relative with the optative, as Soph. Phil. 290 πρὸς δὲ τοῦθ ̓, ὅ μοι βάλοι | νευροσπαδὴς ἄτρακτος, αὐτὸς ἂν τάλας | εἰλυόμην. There is none of the force of as is (or 'was') not the case' which belongs to the regular use of the impft. or plpft. subj. in conditional sentences. In collibuisset' we have the plpft. because the word to be dealt with was not 'collibeat' but 'collibuerit,' the verb never being found in the present. See on

Sat. 1. 6. 79.

amicitiam patris: i.e. of his father by adoption, the dictator C. Julius Caesar: for Tigellius' relation to him see above in introduction to the Satire.

6. ab ovo usque ad mala: i.e. from the beginning to the end of the banquet. It began with the 'gustus,' also called 'promulsis,' dishes supposed to whet the appetite, served sometimes immediately on leaving the bath. Amongst them are mentioned eggs: Mart. 12. 19. I'In thermis sumit lactucas, ova, lacertum'; Plin. Epist. 1. 15 of a supper prepared for himself and one friend, 'Paratae erant lactucae singulae, cocleae ternae, ova bina.' The apples are part of the dessert, 'mensae secundae.' Mart. 10. 48. 18, at the end of the description of a supper, 'saturis mitia poma dabo.' In the gastronomic lecture of Sat. 2. 4, eggs are the first subject treated, v. II; apples come at the end, v. 70.

7. citaret. Cp. 'paeanem citare,' Cic. de Orat. I. 59. 251. 'Io Bacche' in this case represents the accusative. 'Citare' is probably the frequentative of 'cieo' in the sense of ciere vocem, murmur, tinnitum,' &c., 'to sing over and over.'

Io Bacche: the reading is doubtful, the MSS. being divided between Bacche' and ' Bacchae.' Hymns to Bacchus were called from their first words Ιόβακχοι and Βακχέβακχοι (cp. ἰηπαιωνίσαι καὶ Bakxé Bakyov aσaι Arist. Equ. 408). The lengthening of the short 'e' is justified by the metrical ictus; cp.' Hyla, Hyla omne sonaret' Virg. E. 6. 44. It is possible that the effect of the voice dwelling on the note is imitated. Many recent editors prefer 'io Bacchae.' No instance of such a cry is quoted except from Eur. Bacchae, where the Bacchae are personages in the drama.

modo summa voce: i. e. now in a high key, now in a low one: another instance of his changeableness.' There is some difficulty in the expression. In Greek ἡ ὑπάτη [χορδή] =ἡ βαρυτάτη, the string which gives what we should call the 'lowest' note, and ʼn veát1= noğuτárn, that which gives the 'highest'; and' summa' and 'ima’ have been very frequently explained here, in the same sense, 'summa' as the lowest, 'ima' as the highest. But it has been pointed out (1) that there is no proof of such use in Latin, (2) that in respect of the human voice Quintilian distinctly uses summa vox' of a high-pitched voice, and 'ima' of a low-pitched one: