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134 INTRODUCTION TO THE CARMEN SECULARE.

"Ένθεν πορσύνης μεμνημένος. "Ήμασι δ' έστω
Νυξί τ' έπασσυτέρησι θεοπρέπτους κατά θώκους
Παμπληθής άγυρις σπουδή δε γέλωτι μεμίχθω.

35

Ταυτά του έν φρεσι σησιν άει μεμνημένος είναι,
Καί σοι πάσα χθών Ιταλή και πάσα Λατίνη
Αιέν υπό σκήπτροισιν υπαυχένιον ζυγόν έξει.

CARMEN SECULARE.

5

IO

PHOEBE silvarumque potens Diana,
Lucidum caeli decus, o colendi
Semper et culti, date, quae precamur

Tempore sacro,
Quo Sibyllini monuere versus
Virgines lectas puerosque castos
Dis, quibus septem placuere colles,

Dicere carmen.
Alme Sol, curru nitido diem qui
Promis et celas aliusque et idem
Nasceris, possis nihil urbe Roma

Visere maius.
Rite maturos aperire partus
Lenis, Ilithyia, tuere matres,
Sive tu Lucina, probas vocari

Seu Genitalis.
Diva, producas subolem patrumque
Prosperes decreta super iugandis
Feminis prolisque novae feraci

Lege marita,
Certus undenos decies per annos
Orbis ut cantus referatque ludos
Ter die claro totiesque grata

Nocte frequentes.

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25

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Vosque veraces cecinisse, Parcae,
Quod semel dictum est stabilisque rerum
Terminus servet, bona iam peractis

Iungite fata.
Fertilis frugum pecorisque Tellus
Spicea donet Cererem corona ;
Nutriant fetus et aquae salubres

Et Iovis aurae.
Condito mitis placidusque telo
Supplices audi pueros, Apollo;
Siderum regina bicornis, audi,

Luna, puellas:
Roma si vestrum est opus, Iliaeque
Litus Etruscum tenuere turmae,
Iussa pars mutare Lares et urbem

Sospite cursu,
Cui per ardentem sine fraude Troiam
Castus Aeneas patriae superstes
Liberum munivit iter, daturus

Plura relictis :
Di, probos mores docili iuventae,
Di, senectuti placidae quietem,
Romulae genti date remque prolemque

Et decus omne!
Quaeque vos bobus veneratur albis
Clarus Anchisae Venerisque sanguis,
Impetret, bellante prior, iacentem

Lenis in hostem!
Iam mari terraque manus potentes
Medus Albanasque timet secures,
Iam Scythae responsa petunt, superbi

Nuper, et Indi.

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55 60

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Iam Fides et Pax et Honos Pudorque
Priscus et neglecta redire Virtus
Audet, apparetque beata pleno

Copia cornu.
Augur et fulgente decorus arcu
Phoebus acceptusque novem Camenis,
Qui salutari levat arte fessos

Corporis artus,
Si Palatinas videt aequus aras,
Remque Romanam Latiumque felix
Alterum in lustrum meliusque semper

Prorogat aevum.
Quaeque Aventinum tenet Algidumque,
Quindecim Diana preces virorum
Curat et votis puerorum amicas

Applicat aures.
Haec Iovem sentire deosque cunctos
Spem bonam certamque domum reporto,
Doctus et Phoebi chorus et Dianae

Dicere laudes.

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75 GENERAL INTRODUCTION TO THE

EPODES,

'LIBER EPODON,' 'Liber Vtus qui Epodon inscribitur,' are the titles by which this Book is headed in MSS, and cited by the grammatical and metrical writers of the 4th and 5th centuries, Marius Victorinus, Diomedes, Fortunatianus. The separate poems are called Odae. The word Epode (étądós) was a recognized metrical term for the shorter verse of a couplet, which is as it were the echo (érậdetal, “accinitur') of the longer one, and then ouverdoxirôs for the metre or poem (more properly 'carmen epodicum') in which such a sequence occurred'. Elegiac verses are thus admitted as Epodic by Victorinus (p. 2500), but in common use the term was appropriated to the couplet metres of Archilochus and their Horatian imitations. It may be noticed that such metres are not peculiar to the so-called 'Epodes. Two of the couplets known specially by Archilochus' name occur only in the Odes (1. 4, and 4.7); the latter is the one example of an 'Epodus' quoted from Horace by Terentianus Maurus.

Horace's own name for these poems is ‘Iambi' (Epod. 14. 7, Od. 1. 16. 3 and 24, Epp. I. 19. 25), a term which implied their character at least as much as their metre (cp. the Greek verb

1 Terent. Maur. (end of first century), p. 2422, Hephaestion (second century), p. 133 (ed. Gaisford), Mar. Vict. pp. 2500, 2618 folì., Diomedes, p. 482, Fortunat. p. 2699. The correlative a powdós is applied sometimes to the first line of a couplet, as the Hexameter in Elegiacs, sometimes to the first line only when it is the shorter of the two, as in Od. 2. 18; but • Epodus' is used often to cover such couplets as this. Various

attempts have been made to find other meanings for the term Liber Epodon' as applied to Horace's poems. Scaliger (Poet. 1. 44), ignoring apparently the chronological difficulty, interpreted it to mean . after Odes. Torrentius made the word a case of éqón, • liber incantationum,' a general name given to the book from the character of two of its most important poems, Epod. 5 and 17.

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