The Oxford Book of Latin Verse
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Title: The Oxford Book of Latin Verse
Editor: H. W. Garrod
Release date: January 6, 2012 [eBook #38503]
Most recently updated: January 8, 2021
Language: English, Latin
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The Oxford Book Of Latin Verse
From the earliest fragments to the end of the Vth Century A.D.
Chosen by
H.W. Garrod
Fellow of Merton College.
Oxford
At the Clarendon Press
FIRST PUBLISHED 1912
REPRINTED 1921, 1926, 1934, 1940 1943, 1947, 1952, 1964, 1968
PRINTED IN GREAT BRITAIN
PREFACE
The plan of this book excludes epic and the drama, and in general so
much of Roman poetry as could be included only by a licence of excerpt
mostly dangerous and in poetry of any architectonic pretensions
intolerable. If any one remarks as inconsistent with this plan the
inclusion of the more considerable fragments of Ennius and the early
tragedians, I will only say that I have not thought it worth while to be
wiser here than Time and Fate, which have of their own act given us
these poets in lamentable excerpt. A more real inconsistency may be
found in my treatment of the didactic poets. It seemed a pity that
Didactic Poetry--in some ways the most characteristic product of the
Roman genius--should, in such a Collection as this, be wholly
unrepresented. It seemed a pity: and it seemed also on the whole
unnecessary. It seemed unnecessary, for the reason that many of the
great passages of Lucretius, Vergil, and Manilius hang so loosely to
their contexts that the poets themselves seem to invite the gentle
violence of the excerptor. These passages are 'golden branches' set in
an alien stock--_non sua seminat arbos_. The hand that would pluck them
must be at once courageous and circumspect. But they attend the fated
despoiler:
Ergo alte uestiga oculis et rite repertum
carpe manu, namque ipse uolens facilisque sequetur
si te fata uocant.
Even outside Didactic Poetry I have allowed myself an occasional
disloyalty to my own rule against excerpts. I have, for example,
detached one or two lyrics from the Tragedies of Seneca. And, again,
from the long and sometimes tedious _Itinerarium_ of Rutilius I have
detached the splendid apostrophe to Rome which stands in the forefront
of that poem. These are pieces without which no anthology of Latin
poetry would be anything but grotesquely incomplete. And after all we
should be the masters and not the slaves of our own rules.
Satire finds no place in this book. Horace is represented only by his
lyrics. Juvenal and Persius are not represented at all. The _Satires_
and _Epistles_ of Horace are books of deep and wide influence. They have
taught lessons in school which have been remembered in the world. They
have made an appeal to natures which teaching more profound and
spiritual leaves untouched. By their large temper and by their complete
freedom from cant they have achieved a place in the regard of men from
which they are not likely to be dislodged by any changes of literary
fashion or any fury of the enemies of humane studies. I am content to
leave them in this secure position, and not to intrude them into a
Collection where Horace himself would have known them to be out of
place. Indeed, he has himself said upon this subject all that needs to
be said.[1] Persius similarly, in the Prologue to his _Satires_,
excludes himself from the company of the great poets. Nor can I believe
that Juvenal has any place among them. In the rhetoric of rancour he is
a distinguished practitioner. But he wants two qualities essential to
great poetry--truth and humanity. I say this because there are critics
who speak of Juvenal as though he were Isaiah.
My Selection begins with fragments of the Saliar hymns, and ends with
the invocation of Phocas to 'Clio, reverend wardress of Antiquity.' If I
am challenged to justify these _termini_, I will say of the first of
them that I could not begin earlier, and that it is commonly better to
take the beginnings offered to us than to make beginnings for ourselves.
The lower _terminus_ is not so simple a matter. I set myself here two
rules. First, I resolved to include no verse which, tried by what we
call 'classical' standards, was metrically faulty. Secondly, I judged it
wiser to exclude any poetry definitely Christian in character--a rule
which, as will be seen, does not necessarily exclude all the work of
Christian poets. Within these limits, I was content to go on so long as
I could find verse instinct with any genuine poetic feeling. The author
whose exclusion I most regret is Prudentius. If any one asks me, Where
is Merobaudes? where Sedulius? where Dracontius? I answer that they are
where they have always been--out of account. Interesting, no doubt, in
other ways, for the student of poetry they do not count. Prudentius
counts. He has his place. But it is not in this Collection. It is among
other memories, traditions, and aspirations, by the threshold of a world
where Vergil takes solemn and fated leave of those whom he has guided
and inspired:
Non aspettar mio dir più nè mio cenno.
I have spent a good deal of labour on the revision of texts: and I hope
that of some poems, particularly the less known poems, this book may be
found to offer a purer recension than is available elsewhere. I owe it
to myself, however, to say that I have sometimes preferred the
convenience of the reader to the dictates of a rigorous criticism. I
have thought it, for example, not humane to variegate the text of an
Anthology with despairing _obeli_: and occasionally I have covered up an
indubitable lacuna by artifices which I trust may pass undetected by the
general reader and unreproved by the charitable critic.
H.W.G.
_Oxford, Sept. 2, 1912._
INTRODUCTION
I
Latin poetry begins where almost all poetry begins--in the rude
ceremonial of a primitive people placating an unknown and dreaded
spiritual world. The earliest fragments are priestly incantations. In
one of these fragments the Salii placate Leucesius, the god of
lightning. In another the Arval Brethren placate Mars or Marmar, the god
of pestilence and blight (_lues rues_). The gods are most dreaded at the
seasons most important to a primitive people, seed-time, for example,
and harvest. The Salii celebrated Mars at seed-time--in the month which
bears his name, _mensis Martius_. The name of the Arval Brethren betrays
their relation to the gods who watch the sown fields. The aim of this
primitive priestly poetry is to get a particular deity into the power of
the worshipper. To do this it is necessary to know his name and to use
it. In the Arval hymn the name of the god is reiterated--it is a spell.
Even so Jacob wished to know--and to use--the name of the god with whom
he wrestled. These priestly litanies are accompanied by wild dances--the
Salii are, etymologically, 'the Dancing men'--and by the clashing of
shields. They are cast in a metre not unsuited to the dance by which
they are accompanied. This is the famous Saturnian metre, which remained
the metre of all Latin poetry until the coming of the Greeks. Each verse
falls into two halves corresponding to the forward swing and the recoil
of the dance. Each half-verse exhibits three rhythmical beats answering
to the beat of a three-step dance. The verse is in the main accentual.
But the accent is hieratic. The hieratic accent is discovered chiefly in
the first half of the verse: where the natural accent of a disyllabic
word is neglected and the stress falls constantly on the final
syllable.[2] This hieratic accent in primitive Latin poetry is
important, since it was their familiar use of it which made it easy for
the Romans to adapt the metres of Greece.
The first poets, then, are the priests. But behind the priests are the
people--moved by the same religious beliefs and fears, but inclined, as
happens everywhere, to make of their 'holy day' a 'holiday'. And hence a
different species of poetry, known to us chiefly in connexion with the
harvest-home and with marriage ceremonial--the so-called Fescennine
poetry. This poetry is dictated by much the same needs as that of the
priests. It is a charm against _fascinum_, 'the evil eye': and hence the
name Fescennine. The principal constituent element in this Fescennine
poetry was obscene mockery. This obscenity was magical. But just as it
takes two to make a quarrel, so the obscene mockery of the Fescennine
verses required two principals. And here, in the improvisations of the
harvest-home, we must seek the origins of two important species of Latin
poetry--drama and satire.
There was magic in the house as well as in the fields. Disease and Death
demanded, in every household, incantations. We still possess fragments
of Saturnian verse which were employed as charms against disease. Magic
dirges (_neniae_) were chanted before the house where a dead man lay.
They were chanted by a _praefica_, a professional 'wise woman', who
placated the dead man by reiterated praise of him. These chants probably
mingled traditional formulae with improvisation appropriate to
particular circumstances. The office of the _praefica_ survived into a
late period. But with the growth of Rationalism it very early came into
disrepute and contempt. Shorter lived but more in honour was an
institution known to us only from casually preserved references to it in
Cato and Varro. This was the _Song in Praise of Famous Men_ which was
sung at banquets. Originally it was sung by a choir of carefully
selected boys (_pueri modesti_), and no doubt its purpose was to
propitiate the shades of the dead. At a later period the boy choristers
disappear, and the _Song_ is sung by individual banqueters. The ceremony
becomes less religious in character, and exists to minister to the
vanity of great families and to foster patriotism. In Cato's time the
tradition of it survived only as a memory from a very distant past. Its
early extinction must be explained by the wider use among the Romans of
written memorials. Of these literary records nothing has survived to us:
even of epitaphs preserved to us in inscriptions none is earlier than
the age of Cato. So far as our knowledge of Latin literature extends we
pass at a leap from what may be called the poetry of primitive magic[3]
to Livius Andronicus' translation of the _Odyssey_. Yet between the
work of Livius and this magical poetry there must lie a considerable
literary development of which we know nothing. Two circumstances may
serve to bring this home to us. The first is that stage plays are known
to have been performed in Rome as early as the middle of the fourth
century. The second is that there existed in Rome in the time of Livius
a school of poets and actors who were sufficiently numerous and
important to be permitted to form a Guild or College.
The position of Livius is not always clearly understood. We can be sure
that he was not the first Roman poet. Nor is it credible that he was the
first Greek teacher to find his way to Rome from Southern Italy. To what
does he owe his pre-eminence? He owes it, in the first place, to what
may be called a mere accident. He was a schoolmaster: and in his
_Odyssey_ he had the good fortune to produce for the schools precisely
the kind of text-book which they needed: a text-book which was still
used in the time of Horace. Secondly, Livius Andronicus saved Roman
literature from being destroyed by Greek literature. We commonly regard
him as the pioneer of Hellenism. This view needs correcting. We shall
probably be nearer the truth if we suppose that Livius represents the
reaction against an already dominant Hellenism. The real peril was that
the Romans might become not too little but too much Hellenized, that
they might lose their nationality as completely as the Macedonians had
done, that they might employ the Greek language rather than their own
for both poetry and history. From this peril Livius--and the patriotic
nobles whose ideals he represented--saved Rome. It is significant that
in his translation of the _Odyssey_ he employs the old Saturnian
measure. Naevius, a little later, retained the same metre for his epic
upon the Punic Wars. In the epitaph which he composed for himself
Naevius says that 'the Camenae', the native Italian muses, might well
mourn his death, 'for at Rome men have forgotten to speak in Latin
phrase'. He is thinking of Ennius, or the school which Ennius
represents. Ennius' answer has been preserved to us in the lines in
which he alludes scornfully to the _Punica_ of Naevius as written 'in
verses such as the Fauns and Bards chanted of old', the verses, that is,
of the old poetry of magic. Ennius abandons the Saturnian for the
hexameter. Livius and Naevius had used in drama some of the simpler
Greek metres. It is possible that some of these had been long since
naturalized in Rome--perhaps under Etrurian influence. But the
abandonment of the Saturnian was the abandonment of a tradition five
centuries old. The aims of Ennius were not essentially different from
those of Livius and Naevius. But the peril of a Roman literature in the
Greek language was past; and Ennius could afford to go further in his
concessions to Hellenism. It had been made clear that both the Latin
language and the Latin temper could hold their own. And when this was
made clear the anti-Hellenic reaction collapsed. Cato was almost exactly
contemporary with Ennius: and he had been the foremost representative of
the reaction. But in his old age he cried 'Peccavi', and set himself to
learn Greek.
Ennius said that he had three hearts, for he spoke three tongues--the
Greek, the Oscan, and the Latin. And Roman poetry has, as it were, three
hearts. All through the Republican era we may distinguish in it three
elements. There is the Greek, or aesthetic, element: all that gives to
it form or technique. There is the primitive Italian element to which it
owes what it has of fire, sensibility, romance. And finally there is
Rome itself, sombre, puissant, and both in language and ideals
conquering by mass. The effort of Roman poetry is to adjust these three
elements. And this effort yields, under the Republic, three periods of
development. The first covers the second century and the latter half of
the third. In this the Hellenism is that of the classical era of Greece.
The Italian force is that of Southern and Central Italy. The Roman force
is the inspiration of the Punic Wars. The typical name in it is that of
Ennius. The Roman and Italian elements are not yet sufficiently subdued
to the Hellenic. And the result is a poetry of some moral power, not
wanting in fire and life, but in the main clumsy and disordered. The
second period covers the first half of the first century. The Hellenism
is Alexandrian. The Italian influence is from the North of Italy--the
period might, indeed, be called the Transpadane period of Roman poetry.
The Roman influence is that of the Rome of the Civil Wars. The typical
name in it is that of Catullus--for Lucretius is, as it were, a last
outpost of the period before: he stands with Ennius, and the Alexandrine
movement has touched him hardly at all. In this period the Italian
(perhaps largely Celtic) genius is allied with Alexandrianism in revolt
against Rome: and in it Latin poetry may be said to attain formal
perfection. The third period is the Augustan. In it we have the final
conciliation of the Greek, the Italian, and the Roman influences. The
typical name in it is that of Vergil, who was born outside the Roman
_ciuitas_, who looks back to Ennius through Catullus, to Homer through
Apollonius.
It is significant here that it is with the final unification of Italy
(which was accomplished by the enfranchisement of Transpadane Gaul) that
Roman poetry reaches its culmination--and at the same time begins to
decline. Of the makers of Roman poetry very few indeed are Roman. Livius
and Ennius were 'semi-Graeci' from Calabria, Naevius and Lucilius were
natives of Campania. Accius and Plautus--and, later, Propertius--were
Umbrian. Caecilius was an Insubrian Gaul. Catullus, Bibaculus, Ticidas,
Cinna, Vergil were Transpadanes. Asinius Gallus came from Gallia
Narbonensis, Horace from Apulia. So long as there was in the Italian
_municipia_ new blood upon which it could draw, Roman poetry grew in
strength. But as soon as the fresh Italian blood failed Roman poetry
failed--or at any rate it fell away from its own greatness, it ceased to
be a living and quickening force. It became for the first time what it
was not before--imitative; that is to say it now for the first time
reproduced without transmuting. Vergil, of course, 'imitates' Homer. But
observe the nature of this 'imitation'. If I may parody a famous saying,
there is nothing in Vergil which was not previously in Homer--_save
Vergil himself_. But the post-Vergilian poetry is, taken in the mass,
without individuality. There is, of course, after Vergil much in Roman
poetry that is interesting or striking, much that is brilliant,
graceful, or noble. But even so it is notable that much of the best work
seems due to the infusion of a foreign strain. Of the considerable poets
of the Empire, Lucan, Seneca, Martial are of Spanish birth: and a
Spanish origin has been--perhaps hastily--conjectured for Silius.
Claudian is an Alexandrian, Ausonius a Gaul.[4] Rome's rôle in the world
is the absorption of outlying genius. In poetry as in everything else
_urbem fecit quod prius orbis erat_.
If we are to understand the character, then, of Roman poetry in its best
period, in the period, that is, which ends with the death of Augustus,
we must figure to ourselves a great and prosaic people, with a great and
prosaic language, directing and controlling to their own ends spiritual
forces deeper and more subtle than themselves. Of these forces one is
the Greek, the other may for convenience be called the Italian. In the
Italian we must allow for a considerable intermixture of races: and we
must remember that large tracts at least of Northern Italy, notably
Transpadane Gaul and Umbria, have been penetrated by Celtic influence.
No one can study Roman poetry at all deeply or sympathetically without
feeling how un-Roman much of it really is: and again--despite its
Hellenic forms and its constant study of Hellenism--how un-Greek. It is
not Greek and not Roman, and we may call it Italian for want of a better
name. The effects of this Italian quality in Roman poetry are both
profound and elusive; and it is not easy to specify them in words. But
it is important to seize them: for unless we do so we shall miss that
aspect of Roman poetry which gives it its most real title to be called
poetry at all. Apart from it it is in danger of passing at its best for
rhetoric, at its worst for prose.
Ennius is a poet in whom the Roman, as distinct from the Italian,
temperament has asserted itself strongly. It has asserted itself most
powerfully, of course, in the _Annals_. Even in the _Annals_, however,
there is a great deal that is neither Greek nor Roman. There is an
Italian vividness. The coloured phraseology is Italian. And a good deal
more. But it is in the tragedies--closely as they follow Greek
models--that the Italian element is most pronounced. Take this from the
_Alexander_:
adest, adest fax obuoluta sanguine atque incendio:
multos annos latuit, ciues, ferte opem et restinguite.
iamque mari magno classis cita
texitur, exitium examen rapit:
adueniet, fera ueliuolantibus
navibus complebit manus litora.
Mr. Sellar has called attention to the 'prophetic fury' of these lines,
their 'wild agitated tones'. They seem, indeed, wrought in fire. Nor do
they stand alone in Ennius. Nor is their fire and swiftness Roman. They
are preserved to us in a passage of Cicero's treatise _De Diuinatione_:
and in the same passage Cicero applies to another fragment of Ennius
notable epithets. He speaks of it as _poema tenerum et moratum et
molle_. The element of _moratum_, the deep moral earnestness, is Roman.
The other two epithets carry us outside the typically Roman
temperament. Everybody remembers Horace's characterization of Vergil:
molle atque facetum
Vergilio annuerunt gaudentes rure Camenae.
Horace is speaking there of the Vergil of the Transpadane period: the
reference is to the _Eclogues_. The Romans had _hard_ minds. And in the
_Eclogues_ they marvelled primarily at the revelation of temperament
which Horace denotes by the word _molle_. Propertius, in whose Umbrian
blood there was, it has been conjectured, probably some admixture of the
Celtic, speaks of himself as _mollis in omnes_. The _ingenium molle_,
whether in passion, as with Propertius, or, as with Vergil, in
reflection, is that deep and tender sensibility which is the least Roman
thing in the world, and which, in its subtlest manifestations, is
perhaps the peculiar possession of the Celt. The subtle and moving
effects, in the _Eclogues_, of this _molle ingenium_, are well
characterized by Mr. Mackail, when he speaks of the 'note of brooding
pity' which pierces the 'immature and tremulous cadences' of Vergil's
earliest period. This _molle ingenium_, that here quivers beneath the
half-divined 'pain-of-the-world', is the same temperament as that which
in Catullus gives to the pain of the individual immortally poignant
expression. It is the same temperament, again, which created Dido.
Macrobius tells us that Vergil's Dido is just the Medea of Apollonius
over again. And some debt Vergil no doubt has to Apollonius. To the
Attic drama his debt is far deeper; and he no doubt intended to invest
the story of Dido with the same kind of interest as that which attaches
to, say, the Phaedra of Euripides. Yet observe. Vergil has not
_hardness_ enough. He has not the unbending righteousness of the tragic
manner. The rather hard moral grandeur of the great Attic dramatists,
their fine spiritual steel, has submitted to a strange softening
process. Something melting and subduing, something neither Greek nor
Roman, has come in. We are passed out of classicism: we are moving into
what we call romanticism. Aeneas was a brute. There is nobody who does
not feel that. Yet nobody was meant to feel that. We were meant to feel
that Aeneas was what Vergil so often calls him, _pius_. But the Celtic
spirit--for that is what it is--is over-mastering. It is its
characteristic that it constantly girds a man--or a poet--and carries
him whither he would not. The fourth _Aeneid_ is the triumph of an
unconscionable Celticism over the whole moral plan of Vergil's epic.
I will not mention Lesbia by the side of Dido. The Celtic spirit too
often descends into hell. But I will take from Catullus in a different
mood two other examples of the Italic romanticism. Consider these three
lines:
usque dum tremulum mouens
cana tempus anilitas
omnia omnibus annuit,
--'till that day when gray old age shaking its palsied head nods in all
things to all assent.' That is not Greek nor Roman. It is the
unelaborate magic of the Celtic temperament. Keats, I have often
thought, would have 'owed his eyes' to be able to write those three
lines. He hits sometimes a like matchless felicity:
She dwells with Beauty, Beauty that must die,
And Joy, whose hand is ever at his lips
Bidding adieu.
But into the effects which Catullus just happens upon by a luck of
temperament Keats puts more of his life-blood than a man can well spare.
Take, again, this from the _Letter to Hortalus_. Think not, says
Catullus, that your words have passed from my heart,
ut missum sponsi furtiuo munere malum
procurrit casto uirginis e gremio,
quod miserae oblitae molli sub ueste locatum,
dum aduentu matris prosilit, excutitur;
atque illud prono praeceps agitur decursu,
huic manat tristi conscius ore rubor,
--'as an apple, sent by some lover, a secret gift, falls from a maid's
chaste bosom. She placed it, poor lass, in the soft folds of her robe
and forgot it. And when her mother came towards her out it fell; fell
and rolled in headlong course. And vexed and red and wet with tears are
her guilty cheeks!'
That owes something, no doubt, to Alexandria. But in its exquisite
sensibility, its supreme delicacy and tenderness, it belongs rather to
the romantic than to the classical literatures.
_Molle atque facetum_: the deep and keen fire of mind, the quick glow of
sensibility--that is what redeems literature and life alike from
dullness. The Roman, the typical Roman, was what we call a 'dull man'.
But the Italian has this fire. And it is this that so often redeems
Roman literature from itself. We are accustomed to associate the word
_facetus_ with the idea of 'wit'. It is to be connected, it would seem,
etymologically with _fax_, 'a torch'. Its primitive meaning is
'brightness', 'brilliance': and if we wish to understand what Horace
means when he speaks of the element of '_facetum_' in Vergil, perhaps
'glow' or 'fire' will serve us better than 'wit'. _Facetus_, _facetiae_,
_infacetus_, _infacetiae_ are favourite words with Catullus. With
_lepidus_, _illepidus_, _uenustus_, _inuenustus_ they are his usual
terms of literary praise and dispraise. These words hit, of course,
often very superficial effects. Yet with Catullus and his friends they
stand for a literary ideal deeper than the contexts in which they occur:
and an ideal which, while it no doubt derives from the enthusiasm of
Alexandrian study, yet assumes a distinctively Italian character. Poetry
must be _facetus_: it must glow and dance. It must have _lepor_: it must
be clean and bright. There must be nothing slipshod, no tarnish. 'Bright
is the ring of words when the right man rings them.' It must have
_uenustas_, 'charm', a certain melting quality. This ideal Roman poetry
never realizes perhaps in its fullness save in Catullus himself. In the
lighter poets it passes too easily into an ideal of mere cleverness:
until with Ovid (and in a less degree Martial) _lepor_ is the whole man.
In the deeper poets it is oppressed by more Roman ideals.
The _facetum ingenium_, as it manifests itself in satire and invective,
does not properly here concern us: it belongs to another order of
poetry. Yet I may be allowed to illustrate from this species of
composition the manner in which the Italian spirit in Roman poetry
asserts for itself a dominating and individual place. _Satura quidem
tota nostra est_, says Quintilian. We know now that this is not so: that
Quintilian was wrong, or perhaps rather that he has expressed himself in
a misleading fashion. Roman Satire, like the rest of Roman literature,
looks back to the Greek world. It stands in close relation to
Alexandrian Satire--a literature of which we have hitherto been hardly
aware. Horace, when he asserted the dependence of Lucilius on the old
Attic Comedy, was nearer the truth than Quintilian. But the influence of
Attic Comedy comes to Lucilius (and to Horace and to Juvenal and to
Persius) by way of the Alexandrian satirists. From the Alexandrians come
many of the stock themes of Roman Satire, many of its stock characters,
much of its moral sentiment. The _captator_, the {mempsimoiros},
the _auarus_ are not the creation of Horace and Juvenal. The seventh
satire of Juvenal is not the first 'Plaint of the Impoverished
Schoolmaster' in literature. Nor is Horace _Sat._ II. viii the earliest
'Dinner with a Nouveau-Riche'. In all this, and in much else in Roman
Satire, we must recognize Alexandrian influence. Yet even so we can
distinguish clearly--much more clearly, indeed, than in other
departments of Latin poetry--the Roman and the primitive Italian
elements. 'Ecquid is homo habet aceti in pectore?' asks Pseudolus in
Plautus. And Horace, in a well-known phrase, speaks of _Italum acetum_,
which the scholiast renders by 'Romana mordacitas'. This 'vinegar' is
the coarse and biting wit of the Italian countryside. It has its origin
in the casual ribaldry of the _uindemiatores_: in the rudely improvized
dramatic contests of the harvest-home. Transported to the city it
becomes a permanent part of Roman Satire. Roman Satire has always one
hero--the average _paterfamilias_. Often he is wise and mild and
friendly. But as often as not he is merely the _uindemiator_, thinly
disguised, pert and ready and unscrupulous, 'slinging vinegar' not only
at what is morally wrong but at anything which he happens either to
dislike or not to understand. The vices of his--often
imaginary--antagonist are recounted with evident relish and with parade
of detail.
It is not only in Satire that we meet this _Italum acetum_. We meet it
also in the poetry of personal invective. This department of Roman
poetry would hardly perhaps reward study--and it might very well revolt
the student--if it were not that Catullus has here achieved some of his
most memorable effects. In no writer is the _Italum acetum_ found in so
undiluted a sort. And he stands in this perhaps not so much for himself
as for a Transpadane school. The lampoons of his compatriot Furius
Bibaculus were as famous as his own. Vergil himself--if, as seems
likely, the _Catalepton_ be a genuine work of Vergil--did not escape the
Transpadane fashion. In fact the Italian aptitude for invective seems in
North Italy, allied with the study of Archilochus, to have created a new
type in Latin literature--a type which Horace essays not very
successfully in the _Epodes_ and some of the _Odes_. The invective of
Catullus has no humbug of moral purpose. It has its motive in mere hate.
Yet Catullus knew better than any one how subtle and complex an emotion
is hate. Two poems will illustrate better than anything I could say his
power here: and will at the same time make clear what I mean when I
distinguish the Italian from the Roman temperament in Latin poetry.
Let any one take up the eleventh poem of Catullus:
cum suis uiuat ualeatque moechis,
quos simul complexa tenet trecentos,
nullam amans uere sed identidem omnium
ilia rumpens.
There is invective. There is the lash with a vengeance. Yet the very
stanza that follows ends in a sob:
nec meum respectet, ut ante, amorem,
qui illius culpa cecidit uelut prati
ultimi flos, praetereunte postquam
tactus aratrost.
Turn now for an inverse effect to the fifty-eighth poem:
Caeli, Lesbia nostra, Lesbia illa,
illa Lesbia, quam Catullus unam
plus quam se atque suos amauit omnes ...
Note the dragging cadences, the pathetic iteration, the scarce-concealed
agony of longing. Yet this five-line poem ends in a couplet of
intolerable obscenity.
There once more you have the unpredictable Celtic temperament--obscenity
of wrath dissolving in the tenderness of unbidden tears, fond regret
stung suddenly to a rage foul and unscrupulous.
But let me here guard against a misapprehension. The more closely we
study Roman poetry the more clearly do we become aware of the presence
in it of a non-Roman element: and the more does it seem as though this
non-Roman element were the originative force, as though it were to this
that Roman poetry owes most of that in it which we regard as essentially
poetical. The quickening force in the best Roman poetry is the Italian
blood. Yet we speak of this poetry as Roman: and it is not without
reason that we do so. If it was to a great extent made by Italians, it
was made by Italians who were already Romanized. Indeed the Italian and
the Roman elements are never so separate or so disparate in actuality as
they appear in literary analysis. The Italian spirit worked always under
the spell of Rome, and not under any merely external compulsion. And the
spell of Rome is over the whole of Roman poetry. The Italians were only
a nation _through Rome_: and a great poetry must have behind it a great
life: it must express a great people, their deeds and their ideals.
Roman poetry does, beyond almost any other poetry, bear the impress of a
great nation. And after all the _language_ of this poetry is the
language of the Romans. It is said of it, of course, that it is an
unpoetical language. And it is true that it has not the dance and
brightness of Greek: that it is wanting in fineness and subtlety: that
it is defective in vocabulary. All this is true. Yet the final test of
the poetical character of a language is the poetry that is written in
it. The mere sound of Roman poetry is the sound of a great nation. And
here let us remember what we ought never to forget in reading Roman
poetry. It was not made to be read. It was made to be spoken. The Roman
for the most part did not read. He was read to. The difference is plain
enough. Indeed it is common to hear the remark about this or that book,
that 'It is the kind of book that ought to be read aloud'. Latin books
_were_ read aloud. And this practice must have reacted, however
obscurely, upon the writing of them. Some tinge of rhetoric was
inevitable. And here I am led to a new theme.
II
Perhaps no poetry of equal power and range is so deeply infected with
rhetoric as the Roman. A principal cause of this is, no doubt, the
language. But there are other causes, and we shall most easily penetrate
these if we consider what I may call the environment of Roman poetry.
Two conditions in Rome helped to foster literary creation among a people
by temperament unimaginative. Of these the first is an educational
system deliberately and steadily directed towards the development of
poetical talent. No nation ever believed in poetry so deeply as the
Romans. They were not a people of whom we can say, as we can of the
Greeks, that they were _born to_ art and literature. Those of them who
attained to eminence in art and literature knew this perfectly well.
They knew by how laborious a process they had themselves arrived at such
talent as they achieved. The characteristic Roman triumphs are the
triumphs of material civilization. But the Romans were well aware that a
material civilization cannot be either organized or sustained without
the aid of spiritual forces, and that among the most important of the
spiritual forces that hold together the fabric of nationality are art
and literature. With that large common sense of theirs which, as they
grew in historical experience, became more and more spiritual, they
perceived early, and they gauged profoundly, the importance of
accomplishments not native to their genius. They knew what had happened
to the 'valiant kings' who 'lived before Agamemnon'--and why. The same
could easily happen to a great empire. That is partially, of course, a
utilitarian consideration. But the Romans believed also, and deeply, in
the power of literature--and particularly of poetry--to humanize, to
moralize, to mould character, to inspire action. It was this faith
which, as Cicero tells us, lay behind the great literary movement
associated with the circle of Scipio Africanus. It was this faith which
informed the Augustan literature. Horace was a man of the world--or he
liked to think himself one. He was no dreamer. Yet when he speaks of the
influence of high poetry upon the formation of character he speaks with
a grave Puritanism worthy of Plato. These practical Romans had a
practicality deeper than ours. The average Englishman, when he is told
that 'the battle of Waterloo was won by the sonnets of Wordsworth', is
puzzled and even offended. Nothing of Eton and its playing-fields?
Nothing of Wellington and his Guards? What have sonnets in common with
soldiering? But the Roman knew of himself that sonnets are a kind of
soldiering. And much as he admired deeds, he knew that there is no deed
greater than 'the song that nerves a nation's heart.'
These are not mere words: and this was not, in the Roman, an idle faith.
It was a practical faith; that is to say, he acted upon it. Upon this
faith was based, at any rate in the early period of Roman history, the
whole of the Roman system of education. The principal business of the
Roman schoolmaster was to take the great poets and interpret them 'by
reading and comment'. Education was practically synonymous with the
study of the poets. The poets made a man brave, the poets made a man
eloquent, the poets made him--if anything could make him--poetical. It
is hardly possible to over-estimate the obscure benefit to the national
life of a discipline in which the thought and language of the best
poetry were the earliest formative influences.
The second of the two conditions which favoured literary creation in
Rome was a social system which afforded to a great and influential class
the leisure for literary studies and the power to forward them. These
two conditions are, roughly, synchronous in their development. Both take
rise in the period of the Punic Wars. The Punic Wars not only quickened
but they deepened and purified Roman patriotism. They put the history of
the world in a new light to the educated Roman. The antagonism of Greek
and Roman dropped away. The wars with Pyrrhus were forgotten. The issue
was now no longer as between Greece and Rome, but as between East and
West. The Roman saw in himself the last guardian of the ideals of
Western civilization. He must hand on the torch of Hellenic culture.
Hence, while in other countries Literature _happens_, as the sun and the
air happen--as a part of the working of obscure natural forces--in Rome
it is from the beginning a premeditated self-conscious organization.
This organization has two instruments--the school of the _grammaticus_
and the house of the great noble. Here stands Philocomus, here Scipio.
In the period of the Punic Wars this organization is only rudimentary.
By no means casual, it is none the less as yet uninfected by
officialism. The transition from the age of Scipio to the age of
Augustus introduced two almost insensible modifications:
(1) In the earlier period the functions of the _grammaticus_ and the
_rhetor_ were undifferentiated. The _grammaticus_, as he was known
later, was called then _litteratus_ or _litterator_. He taught both
poetry and rhetoric. But Suetonius tells us that the name denoted
properly an 'interpres poetarum': and we may infer that in the early
period instruction in rhetoric was only a very casual adjunct of the
functions of the _litterator_. At what precise date the office of the
_litterator_ became bifurcated into the two distinct professions of
_grammaticus_ and _rhetor_ we cannot say. It seems likely that the
undivided office was retained in the smaller Italian towns after it had
disappeared from the educational system of Rome. The author of
_Catelepton V_, who may very well be Vergil, appears to have frequented
a school where poetry and rhetoric were taught in conjunction. Valerius
Cato and Sulla, the former certainly, the latter probably, a
Transpadane, were known as _litteratores_. But the _litterator_
gradually everywhere gave place to the _grammaticus_: and behind the
_grammaticus_, like Care behind the horseman, sits spectrally the
_rhetor_.
(2) The introduction of the _rhetor_ synchronizes with the transition
from the private patron to the patron-as-government-official. And by an
odd accident both changes worked in one and the same direction. That the
system of literary patronage was in many of its effects injurious to the
Augustan literature is a thesis which was once generally allowed. But it
was a thesis which could easily take exaggerated expression. And against
the view which it presents there has recently been a not unnatural
reaction. A moderate representative of this reaction is the late
Professor Nettleship. 'The intimacy', says Nettleship[5], 'which grew
up between Octavianus and some of the great writers of his time did not
imply more than the relation which ... often existed between a poor poet
and his powerful friend. For as the men of nobler character among the
Roman aristocracy were mostly ambitious of achieving literary success
themselves, and were sometimes really successful in achieving it: as
they had formed a high ideal of individual culture ... aiming at
excellence in literature and philosophy as well as in politics and the
art of war, so they looked with a kindly eye on the men of talent and
genius who with less wealth and social resources than their own were
engaged in the great work of improving the national literature.'
There is much here which is truly and tellingly said. We ought never to
forget that the system of patronage sprang from a very lofty notion of
patriotism and of the national welfare. It implies a clear and fine
recognition among the great men of affairs of the principle that a
nation's greatness is not to be measured, and cannot be sustained, by
purely material achievements. It is true, again, that the system of
patronage did not originate with Augustus or the Augustans. Augustus was
a patron of letters just as Scipio had been--because he possessed power
and taste and a wide sense of patriotic obligation. So much is true, or
fairly true. But if it is meant, as I think it is, that the literary
patronage of the Princeps was the same in kind as, and different only in
degree from, that exercised by the great men of the Republican
period--if that is meant, then we have gone beyond what is either true
or plausible.
I am not concerned here, let me say, with the _moral_ effects of
literary patronage. I am concerned only with its literary effects. Nor
will I charge these to Augustus alone. He was but one patron--however
powerful--among many. He did not create the literature which carries his
name. Nevertheless it seems impossible to doubt that it was largely
moulded under his personal influence, and that he has left upon it the
impress of his own masterful and imperial temper. Suetonius in a few
casual paragraphs gives us some insight into his literary tastes and
methods. He represents him as from his youth up a genuine enthusiast for
literature: 'Eloquentiam studiaque liberalia (i.e. _grammatice_ and
rhetoric) ab aetate prima et cupide et laboriosissime exercuit.' Even
upon active military service he made a point of reading, composing, and
declaiming daily. He wrote a variety of prose works, and 'poetica
summatim attigit', he dabbled in poetry. There were still extant in
Suetonius' time two volumes of his poetry, the one a collection of
_Epigrammata_, the other--more interesting and significant--a hexameter
poem upon _Sicily_.[6] Moreover Augustus 'nursed in all ways the
literary talent of his time'. He listened 'with charity and
long-suffering' to endless recitations 'not only of poetry and of
history but of orations and of dialogues'. We are somewhat apt, I fancy,
to associate the practice of recitation too exclusively with the
literary circles of the time of Nero, Domitian, and Trajan. Yet it is
quite clear that already in the Augustan age this practice had attained
system and elaboration. From the silence of Cicero in his Letters (the
Epistles of Pliny furnish a notable contrast) we may reasonably infer
that the custom was not known to him. It is no doubt natural in all ages
that poets and orators should inflict their compositions upon their more
intimate friends. No one of us in a literary society is safe even to-day
from this midnight peril. But even of these informal recitations we hear
little until the Augustan age. Catullus' friend Sestius perhaps recited
his orations in this fashion: but the poem[7] admits a different
interpretation. And it is significant that we are nowhere told that
Cicero declaimed to his friends the speeches of the second action
against Verres. Those speeches were not delivered in court. They were
published after the flight of Verres. If custom had tolerated it we may
be sure that Cicero would not have been slow to turn his friends into a
jury.
The formal recitation, recitation as a 'function', would seem to be the
creation of the Principate. It was the product in part, no doubt, of the
Hellenizing movement which dominated all departments of literary
fashion. But we may plausibly place its origin not so much in the vanity
of authors seeking applause, or in that absence of literary vanity which
courts a frank criticism, as in the relations of the wealthy patron and
his poor but ambitious client. The patron, in fact, did not subscribe
for what he had not read--or heard. The endless recitations to which
Augustus listened were hardly those merely of his personal friends. He
listened, as Suetonius says, 'benigne et patienter'. But it was the
'benignity and patience' not of a personal friend but of a government
official--of a government official dispensing patronage. Suetonius
allows us to divine something of the tastes of this all-powerful
official. He was the particular enemy of 'that style which is easier
admired than understood'--_quae mirentur potius homines quam
intellegant_. It looks as though the clearness and good sense which mark
so distinctively the best Augustan literature were developed to some
extent under the direct influence of the Princeps.
The Princeps and his coadjutors may perhaps be not unprofitably regarded
as the heads of a great Educational Department. Beneath them are
numberless _grammatici_ and _rhetores_. The work of these is directed
towards the ideals of the supreme heads of the Department. How far this
direction is due to accident and how far to some not very defined
control it would be impossible to say. But obviously among the conscious
aims of the schools of many of these _grammatici_ and _rhetores_ was the
ambition of achieving some of the great prizes of the literary world.
The goal of the pupil was government preferment, as we should call it.
And we may perhaps be allowed, if we guard ourselves against the peril
of mistaking a distant analogy for a real similarity of conditions, to
see in the recitations before the Emperor and his ministers, an
inspection, as it were, of schools and universities, an examination for
literary honours and emoluments. And this being so, it is not to no
purpose that the _rhetor_ in this age stands behind the _grammaticus_.
For the final examination, the inspection-by-recitation, is bound to be,
whatever the wishes of any of the parties concerned, an examination in
rhetoric. The theme appointed may be history, it may be philosophy, it
may be poetry. But the performance will be, and must be, rhetoric. The
_Aeneid_ of Vergil may be read and re-read by posterity, and pondered
word by word, line upon line. But it is going to be judged at a single
recitation. For Vergil, it is true, there may be special terms. But this
will be the lot of the many; and the many will develop, to suit it, a
fashion of poetry the influence of which even Vergil himself will hardly
altogether escape. Moreover, there will be, of course, other patrons
than the Princeps, at once less patient and less intelligent.
These effects of recitation we recognize, of course, easily enough in
the case of such a poet as Lucan. But we must go back further. Vergil
is, no doubt, as little like Lucan as he well could be. Yet he did not
sit at the feet of Epidius for nothing: and he did not forget when he
wrote the fourth book of the _Aeneid_ that he would one day read it to
Augustus. We know that there are several kinds of oratory. But we are
inclined, I think, to suppose that there is only one kind of
rhetoric--that rhetoric is always the same thing. Yet there are at least
two kinds of rhetoric. In the practical world there are two conquering
forces--the iron hand and the velvet glove. Just so in rhetoric--which
in the spiritual world is one of the greatest, and very often one of the
noblest, of conquering forces--there is the iron manner and the velvet
manner. Lucan goes home like a dagger thrust. His is the rhetoric that
cuts and beats. The rhetoric of Vergil is soft and devious. He makes no
attempt to astonish, to perplex, to horrify. He aims to move us in a
wholly different manner. And yet, like Lucan, he aims to move us _once
and for all_. He aims to be understood upon a first hearing. I know that
this sounds like a paradox. I shall be told that Vergil is of all poets
the most indirect. That is perfectly true. But _why_ is Vergil of all
poets the most indirect? Just because he is always trying at all costs
to make himself clear. Lucan says a thing once and is done with it.
Vergil cannot. He begins all over again. He touches and retouches. He
has no 'theme' not succeeded by a 'variation'.[8] In Lucan everything
depends upon concentration, in Vergil upon amplification. Both are
trying painfully to be understood on a first hearing--or, rather, to
make, on a first hearing, the emotional or ethical effect at which they
aim. Any page of Vergil will illustrate at once what I mean. I select at
random the opening lines of the third _Aeneid_:
postquam res Asiae Priamique euertere gentem
immeritam uisum superis, ceciditque superbum
Ilium, et omnis humo fumat Neptunia Troia;
diuersa exsilia et desertas quaerere terras
auguriis agimur diuum, classemque sub ipsa
Antandro et Phrygiae molimur montibus Idae,
incerti quo fata ferant, ubi sistere detur.
The first three lines might have been expressed by an ablative absolute
in two words--_Troia euersa_. But observe. To _res Asiae_ in 1 Vergil
adds the explanatory _Priami gentem_, amplifying in 2 with the new
detail _immeritam_. _Euertere uisum_ (1-2) is caught up by _ceciditque
Ilium_ (2-3), with the new detail _superbum_ added, and again echoed
(3) by _humo fumat_--_fumat_ giving a fresh touch to the picture. In 4
_diuersa exsilia_ is reinforced by _desertas terras_, _sub ipsa
Antandro_ (5-6) by _montibus Idae_ (6). In 7 _ubi sistere detur_ echoes
_quo fata ferant_. One has only to contrast the rapidity of Homer, in
whom every line marks decisive advance. But Vergil diffuses himself. And
this diffusion is in its origin and aim rhetorical.
Yet he did not write, and I do not mean to suggest that he wrote, for an
_auditorium_ and {es to parachrêma}, and not for the scrupulous
consideration of after ages. He wrote to be read and pondered. But he is
haunted nevertheless by the thought of the _auditorium_. It distracts,
and even divides, his literary consciousness. He writes, perhaps without
knowing it, for two classes--for the members of his patron's salon and
for the scholar in his study. We shall not judge his style truly if we
allow ourselves wholly to forget the _auditorium_. And here let me add
that we shall equally fail to understand the style of Lucan or that of
Statius if we remember, as we are apt to do, only the _auditorium_. The
_auditorium_ is a much more dominating force in their consciousness than
it is in that of Vergil. But even they rarely allow themselves to forget
the judgement of the scholar and of posterity. They did not choose and
place their words with so meticulous a care merely for the audience of
an afternoon. If we sometimes are offended by their evident subservience
to the theatre, yet on the whole we have greater reason to admire the
courage and conscience with which they strove nevertheless to keep
before them the thought of a wider and more distant and true-judging
audience.
I have intentionally selected for notice that rhetorical feature in
Vergil's style which is, I think, the least obvious. How much of the
_Aeneid_ was written ultimately by Epidius I hardly like to inquire.
Nowhere does Vergil completely succeed in concealing his rhetorical
schooling. Even in his greatest moments he is still to a large extent a
rhetorician. Indeed I am not sure that he ever writes pure
poetry--poetry which is as purely poetry as that of Catullus. Take the
fourth book of the _Aeneid_, which has so much passionate Italian
quality. Even there Vergil does not forget the mere formal rules of
rhetoric. Analyse any speech of Dido. Dido knows all the rules. You can
christen out of Quintilian almost all the figures of rhetoric which she
employs. Here is a theme which I have not leisure to develop. But it is
interesting to remember in this connexion the immense and direct
influence which Vergil has had upon British oratory. Burke went nowhere
without a copy of Vergil in his pocket. Nor is it for nothing that the
fashion of Vergilian quotation so long dominated our parliamentary
eloquence. These quotations had a perfect appropriateness in a
rhetorical context: for they are the language of a mind by nature and by
education rhetorical.
III
Roman poetry continued for no less than five centuries after the death
of Vergil--and by Roman poetry I mean a Latin poetry classical in form
and sentiment. But of these five centuries only two count. The second
and third centuries A.D. are a Dark Age dividing the silver twilight of
the century succeeding the age of Horace from the brief but brilliant
Renaissance of the fourth century: and in the fifth century we pass into
a new darkness. The infection of the Augustan tradition is sufficiently
powerful in the first century to give the impulse to poetic work of high
and noble quality. And six considerable names adorn the period from Nero
to Domitian. Of these the greatest are perhaps those of Seneca, Lucan,
and Martial. All three are of Spanish origin: and it is perhaps to their
foreign blood that they owe the genius which redeems their work from its
very obvious faults. It is the fashion to decry Seneca and Lucan as mere
rhetoricians. Yet in both there is something greater and deeper than
mere rhetoric. They move by habit grandly among large ideas. Life is
still deep and tremendous and sonorous. Their work has a certain Titanic
quality. We judge their poetry too much by their biography, and their
biography too little in relation to the terrible character of their
times. Martial is a poet of a very different order. Yet in an inferior
_genre_ he is supreme. No other poet in any language has the same
never-failing grace and charm and brilliance, the same arresting
ingenuity, an equal facility and finish. We speak of his faults, yet, if
the truth must be told, his poetry is faultless--save for one fault: its
utter want of moral character. The three other great names of the period
are Statius, Silius, and Valerius. Poets of great talent but no genius,
they 'adore the footsteps' of an unapproachable master. Religiously
careful artists, they see the world through the eyes of others. Sensible
to the effects of Greatness, they have never touched and handled it.
They know it only from the poets whom they imitate. The four winds of
life have never beat upon their decorous faces. We would gladly give the
best that they offer us--and it is often of fine quality--for something
much inferior in art but superior in the indefinable qualities of
freshness and gusto. The exhaustion of the period is well seen in
Juvenal--in the jaded relish of his descriptions of vice, in the
complete unreality of his moral code, in a rhetoric which for ever just
misses the fine effects which it laboriously calculates.
The second century is barren. Yet we are dimly aware in the reign of
Hadrian of an abortive Revival. We hear of a school of _neoterici_: and
these _neoterici_ aimed at just what was needed--greater freshness and
life. They experimented in metre, and they experimented in language.
They tried to use in poetry the language of common speech, the language
of Italy rather than that of Rome, and to bring into literature once
again colour and motion. The most eminent of these _neoterici_ is Annius
Florus, of whom we possess some notable fragments. But the movement
failed; and Florus is the only name that arrests the attention of the
student of Roman poetry between Martial and Nemesianus. Nemesianus is
African, and his poems were not written in Rome. But his graceful genius
perhaps owes something to the impulsion given to literary studies by
Numerian--one of the few emperors of the period who exhibit any interest
in the progress of literature. The fourth century is the period of
Renaissance. We may see in Tiberianus the herald of this Renaissance.
The four poems which can be certainly assigned to him are distinguished
by great power and charm. It is a plausible view that he is also the
author of the remarkable _Peruigilium Veneris_--that poem proceeds at
any rate from the school to which Tiberianus belongs. The style of
Tiberianus is formed in the academies of Africa, and so also perhaps his
philosophy. The Platonic hymn to the Nameless God is a noble monument of
the dying Paganism of the era. Tiberianus' political activities took him
to Gaul: and Gaul is the true home of this fourth-century Renaissance.
In Gaul around Ausonius there grew up at Bordeaux a numerous and
accomplished and enthusiastic school of poets. To find a parallel to the
brilliance and enthusiasm of this school we must go back to the school
of poets which grew up around Valerius Cato in Transpadane Gaul in the
first century B.C. The Bordeaux school is particularly interesting from
its attitude to Christianity. Among Ausonius' friends was the austere
Paulinus of Nola, and Ausonius himself was a convert to the Christian
faith. But his Christianity is only skin-deep. His Bible is Vergil, his
books of devotion are Horace and Ovid and Statius. The symbols of the
Greek mythology are nearer and dearer to him than the symbolism of the
Cross. The last enemy which Christianity had to overcome was, in fact,
Literature. And strangely enough the conquest was to be achieved
finally, not by the superior ethical quality of the new religion, but by
the havoc wrought in Latin speech by the invasion of the Barbarians, by
the decay of language and of linguistic study. To the period of
Ausonius--and probably to Gaul--belong the rather obscure Asmenidae--the
'sons', or pupils, of Asmenius. At least two of them, Palladius and
Asclepiadius, exhibit genuine poetical accomplishment. But the schools
both of Ausonius and of Asmenius show at least in one particular how
relaxed had become the hold even upon its enthusiasts of the true
classical tradition. All these poets have a passion for triviality, for
every kind of _tour de force_, for conceits and mannerisms. At times they
are not so much poets as the acrobats of poetry.
The end of the century gives us Claudian, and a reaction against this
triviality. 'Paganus peruicacissimus,' as Orosius calls him, Claudian
presents the problem of a poet whose poetry treats with real power the
circumstances of an age from which the poet himself is as detached as
can be. Claudian's real world is a world which was never to be again, a
world of great princes and exalted virtues, a world animated by a
religion in which Rome herself, strong and serene, is the principal
deity. Accident has thrown him into the midst of a political nightmare
dominated by intriguing viziers and delivered to a superstition which
made men at once weak and cruel. Yet this world, so unreal to him, he
presents in a rhetorical colouring extraordinarily effective. Had he
possessed a truer instinct for things as they are he might have been the
greatest of the Roman satirists. He has a real mastery of the art of
invective. But, while he is great where he condemns, where he blesses he
is mostly contemptible. He has too many of the arts of the cringing
Alexandrian. And they availed him nothing. Over every page may be heard
the steady tramp of the feet of the barbarian invader.
After Claudian we pass into the final darkness. The gloom is illuminated
for a brief moment by the Gaul Rutilius. But Rutilius has really
outlived Roman poetry and Rome itself. Nothing that he admires is any
longer real save in his admiration of it. The things that he condemns
most bitterly are the things which were destined to dominate the world
for ten centuries. Christianity is 'a worse poison than witchcraft'. The
monastic spirit is the 'fool-fury of a brain unhinged'. The monasteries
are 'slave-dungeons'.
It was these 'slave-dungeons' which were to keep safe through the long
night of the Middle Ages all that Rutilius held dear. It was these
'slave-dungeons' which were to afford a last miserable refuge to the
works of that long line of poets of whom Rutilius is the late and
forlorn descendant. Much indeed was to perish even within the fastnesses
of these 'slave-dungeons': for the monasteries were not always secure
from the shock of war, nor the precious memorials which they housed from
the fury of fanaticism. Yet much was to survive and to emerge one day
from the darkness and to renew the face of the world. Rutilius wrote his
poem in 416 A.D. If he could have looked forward exactly a thousand
years he would have beheld Poggio and the great Discoverers of the
Italian Renaissance ransacking the 'slave-dungeons' of Italy, France,
and Germany, and rejoicing over each recovered fragment of antiquity
with a pure joy not unlike that which heavenly minds are said to feel
over the salvation of souls. These men were, indeed, kindling into life
again the soul of Europe. They were assisting at a New Birth. In this
process of regeneration the deepest force was a Latin force, and of this
Latin force the most impelling part was Latin poetry. We are apt
to-day, perhaps, in our zeal of Hellenism, to forget, or to disparage,
the part which Latin poetry has sustained in moulding the literatures of
modern Europe. But if the test of great poetry is the length and breadth
of its influence in the world, then Roman poetry has nothing to fear
from the vagaries of modern fashion. For no other poetry has so deeply
and so continuously influenced the thought and feeling of mankind. Its
sway has been wider than that of Rome itself: and the Genius that broods
over the Capitoline Hill might with some show of justice still claim, as
his gaze sweeps over the immense field of modern poetry, that he beholds
nothing which does not owe allegiance to Rome:
Iupiter arce sua totum cum spectat in orbem,
nil nisi Romanum quod tueatur habet.
NVMA POMPILIVS (?)
715-673 B.C.
_1. Fragments of the Saliar Hymns_
_i_
DIVOM templa cante,
diuom deo supplicate.
_ii_
QVOME tonas, Leucesie,
prae tet tremonti.
quor libet, Curis,
decstumum tonare?
_iii_
CONSE, ulod oriese:
omnia tuere,
adi, Patulci, coi isse:
Sancus Ianes Cerus es.
Duonus Ianus ueuet
po melios, eu, recum.
THE ARVAL BROTHERHOOD
_2. Against Plague upon the Harvest_
_Incertae Aetatis._
ENOS, Lases, iuuate,
enos, Lases, iuuate,
enos, Lases, iuuate.
neue lue rue, Marmar, sins incurrere in pleoris,
neue lue rue, Marmar, sins incurrere in pleoris,
neue lue rue, Marmar, sers incurrere in pleoris.
satur fu, fere Mars: limen sali: sta berber,
satur fu, fere Mars: limen sali: sta berber,
satur fu, fere Mars: limen sali: sta berber,
semunis alternei aduocapit conctos,
semunis alternei aduocapit conctos,
semunis alternei aduocapit conctos.
enos, Marmor, iuuato,
enos, Marmor, iuuato,
enos, Marmor, iuuato.
triumpe, triumpe, triumpe, triumpe, triumpe.
ANONYMOUS
_3. Charms_
_i. Against the Gout_
_Incertae Aetatis._
EGO tui memini,
medere meis pedibus:
terra pestem teneto,
salus hic maneto
in meis pedibus.
_ii. At the Meditrinalia_
NOVOM uetus uinum bibo,
nouo ueteri morbo medeor.
_4. An Ancient Lullaby_
_Incertae Aetatis._
LALLA, lalla, lalla:
i, aut dormi aut lacta.
_5. Epitaphs of the Scipios_
284-176 B.C.
_i_
CORNELIVS Lucius Scipio Barbatus,
Gnaiuod patre prognatus fortis uir sapiensque,
quoius forma uirtutei parisuma fuit,
consol, censor, aidilis quei fuit apud nos,
Taurasia, Cisauna, Samnio cepit,
subigit omne Loucanam opsidesque abdoucsit.
_ii_
HONC oino ploirime cosentiont Romai
duonoro optumo fuise uiro
Lucium Scipione. filios Barbati
consol, censor, aidilis hic fuet apud nos:
hic cepit Corsica Aleriaque urbe,
dedet Tempestatebus aide meretod.
_iii_
QVEI apice insigne Dialis flaminis gesistei,
mors perfecit tua ut essent omnia breuia,
honos fama uirtusque, gloria atque ingenium.
quibus sei in longa licuiset utier tibi uita,
facile facteis superases gloriam maiorum.
qua re lubens te in gremiu Scipio, recipit
terra, Publi, prognatum Publio, Corneli.
_iv_
MAGNA sapientia multasque uirtutes
aeuitate quam parua posidet hoc saxsum.
quoiei uita defecit, non honos, honore,
is hic situs, quei nunquam uictus est uirtutei,
annos gnatus uiginti is Diteist mandatus,
ne quairatis honore quei minus sit mactus.
L. LIVIVS ANDRONICVS
284-204 B.C. (?)
_6. Fragments of the Odyssey_
_i_
VIRVM mihi, Camena, insece uersutum.
_ii_
Mea puera quid uerbi ex tuo ore supera fugit?
_iii_
Mea puer quid uerbi ex tuo ore audio?
neque enim te oblitus sum, Laertie noster.
_iv_
Simul ac dacrimas de ore noegeo detersit.
_v_
Namque nullum peius macerat hemonem
quamde mare saeuom: uires quoi sunt magnae,
topper eas confringunt importunae undae.
_vi_
Topper citi ad aedis uenimus Circai.
simul duona eorum portant ad naues:
milia alia in isdem inserinuntur.
_vii_
In Pylum deuenies aut ibi ommentans.
_viii_
Inferus an superus tibi fert deus funera, Vlixes?
_ix_
Cum socios nostros mandisset impius Cyclops.
_x_
At celer hasta uolans perrumpit pectora ferro.
_7. Dramatic Fragments_
_i_
TVM autem lasciuum Nerei simum pecus
ludens ad cantum classem lustratur choro.
_ii_
Ipsus se in terram saucius fligit cadens.
_iii_
Quin quod parere uos maiestas mea procat,
toleratis templo, letoque hanc deducitis?
_iv_
Nam praestatur uirtuti laus, sed gelu multo ocius
uento tabescit.
_v_
Confluges ubi conuentu campum totum inumigant.
_vi_
Florem anculabant Liberi ex carchesiis.
_vii_
Quo Castalia per struices saxeas lapsu accidit.
_viii_
Quem ego nefrendem alui lacteam inmulgens opem.
_ix_
Puerarum manibus confectum pulcerrime.
_x_
Iamne oculos specie laetauisti optabili?
CN. NAEVIVS
270-199 B.C. (?)
_8. Fragments of the Bellum Poenicum_
_i_
NOVEM Iouis concordes filiae sorores.
_ii_
Postquam auem aspexit in templo Anchisa,
sacra in mensa penatium ordine ponuntur,
immolabat auream uictimam pulcram.
_iii_
Amborum uxores
noctu Troiad exibant capitibus opertis,
flentes ambae, abeuntes lacrimis cum multis.
_iv_
Blande et docte percontat, Aenea quo pacto
Troiam urbem liquisset.
_v_
Deinde pollens sagittis inclutus Arquitenens
sanctus Ioue prognatus Pythius Apollo.
_vi_
Transit Melitam
Romanus exercitus, insulam integram urit,
populatur, uastat, rem hostium concinnat.
_vii_
Sin illos deserant fortissimos uiros,
magnum stuprum populo fieri per gentis.
_viii_
Seseque ei perire mauolunt ibidem
quam cum stupro redire ad suos populares.
_ix_
Fato Metelli Romae fiunt consules.
_9. Dramatic Fragments_
_i_
LAETVS sum laudari me abs te, pater, a laudato uiro.
_ii_
Vos qui regalis corporis custodias
agitatis, ite actutum in frondiferos locos,
ingenio arbusta ubi nata sunt, non obsita.
_iii_
Cedo, qui rem uestram publicam tantam amisistis tam cito?
proueniebant oratores nouei, stulti adulescentuli.
_iv_
Ego semper pluris feci
potioremque habui libertatem multo quam pecuniam.
_v_
Si quidem loqui uis,
non perdocere multa longe promicando oratiost.
_vi_
Quasi in choro ludens datatim dat se et communem facit:
alii adnutat, alii adnictat, alium amat, alium tenet,
alibi manus est occupata, alii pede percellit pedem,
anulum dat alii spectandum, a labris alium inuocat,
cum alio cantat, at tamen alii suo dat digito litteras.
_10. His Own Epitaph_
IMMORTALES mortales si foret fas flere,
flerent diuae Camenae Naeuium poetam.
itaque, postquam est Orchi traditus thesauro,
obliti sunt Romai loquier lingua Latina.
T. MACCIVS PLAVTVS
254-184 B.C.
_11. His Own Epitaph_
POSTQVAM est mortem aptus Plautus, Comoedia luget,
scaena est deserta, dein Risus Ludus Iocusque
et Numeri innumeri simul omnes conlacrumarunt.
MARCIVS VATES
250-200 B.C. (?)
_12. Precepts_
_i_
POSTREMVS dicas, primus taceas.
_ii_
Quamuis nouentium duonum negumate.
_13. Vaticinium_
250-200 B.C. (?)
AQVAM Albanam, Romane, caue lacu teneri,
caue in mare manare flumine sinas suo.
emissam agris rigabis, dissipatam riuis
exstingues: tum tu insiste muris hostium audax,
memor, quam per tot annos obsides urbem,
ex ea tibi his quae iam nunc panduntur fatis
uictoriam oblatam. bello perfecto
donum peramplum uictor ad mea templa
portato: patria sacra, quorum cura dudum est
omissa, endostaurata, ut adsolet, facito.
Q. ENNIVS
239-169 B.C.
FROM THE ANNALS
_14. The Vision of Ilia_
ET cita cum tremulis anus attulit artubus lumen.
talia tum memorat lacrimans exterrita somno:
'Eurydica prognata, pater quam noster amauit,
uires uitaque corpus meum nunc deserit omne.
nam me uisus homo pulcher per amoena salicta
et ripas raptare locosque nouos: ita sola
postilla, germana soror, errare uidebar
tardaque uestigare et quaerere te neque posse
corde capessere: semita nulla pedem stabilibat.
exim compellare pater me noce uidetur
his uerbis: "O gnata, tibi sunt ante gerendae
aerumnae, post ex fluuio fortuna resistet."
haec effatus pater, germana, repente recessit
nec sese dedit in conspectum corde cupitus,
quamquam multa manus ad caeli caerula templa
tendebam lacrumans et blanda uoce uocabam.
uix aegro cum corde meo me somnus reliquit.'
_15. Romulus and Remus_
CVRANTES magna cum cura tum cupientes
regni dant operam simul auspicio augurioque.
... Remus auspicio se deuouet atque secundam
solus auem seruat. at Romulus pulcher in alto
quaerit Auentino, seruat genus altiuolantum.
certabant urbem Romam Remoramne uocarent.
omnibus cura uiris uter esset induperator.
expectant, ueluti consul cum mittere signum
uolt omnes auidi spectant ad carceris oras,
quam mox emittat pictis e faucibus currus:
sic expectabat populus atque ore timebat
rebus, utri magni uictoria sit data regni.
interea sol albus recessit in infera noctis.
exin candida se radiis dedit icta foras lux
et simul ex alto longe pulcherruma praepes
laeua uolauit auis. simul aureus exoritur sol,
cedunt de caelo ter quattuor corpora sancta
auium, praepetibus sese pulchrisque locis dant.
conspicit inde sibi data Romulus esse priora,
auspicio regni stabilita scamna solumque.
_16. The Speech of Pyrrhus_
NEC mi aurum posco nec mi pretium dederitis:
non cauponantes bellum sed belligerantes,
ferro, non auro, uitam cernamus utrique,
uosne uelit an me regnare era quidue ferat Fors
uirtute experiamur. et hoc simul accipe dictum:
quorum uirtuti belli fortuna pepercit,
eorundem libertati me parcere certum est.
dono, ducite, doque uolentibus cum magnis dis.
_17. Character of a Friend of Servilius_[9]
HAECCE locutus uocat, quocum bene saepe libenter
mensam sermonesque suos rerumque suarum
omne iter impertit magnam cum lassus diei
partem fuisset de summis rebus regundis
consilio indu foro lato sanctoque senatu,
cui res audacter magnas paruasque iocumque
eloqueretur et incaute malaque et bona dictu
euomeret si qui uellet tutoque locaret,
quocum multa uolup sibi fecit clamque palamque,
ingenium cui nulla malum sententia suaset
ut faceret facinus leuis aut malus, doctus, fidelis,
suauis homo, facundus, suo contentus, beatus,
scitus, secunda loquens in tempore, commodus, uerbum
paucum, multa tenens antiqua, sepulta uetustas
quae facit; et mores ueteresque nouosque tenentem,
multorum ueterum leges diuumque hominumque,
prudentem, qui dicta loquiue tacereue posset,
hunc inter pugnas conpellat Seruilius sic.
_18. M. Cornelius Cethegus_
ADDITVR orator Cornelius suauiloquenti
ore Cethegus Marcus Tuditano collega
Marci filius ...
... is dictust ollis popularibus olim
qui tum uiuebant homines atque aeuum agitabant
flos delibatus populi suadaeque medulla.
_19. Caelius resists the Onset of the Istri_
VNDIQVE conueniunt uelut imber tela tribuno:
configunt parmam, tinnit hastilibus umbo,
aerato sonitu galeae, sed nec pote quisquam
undique nitendo corpus discerpere ferro:
semper abundantes hastas frangitque quatitque.
totum sudor habet corpus multumque laborat,
nec respirandi fit copia: praepete ferro
Histri tela manu iacientes sollicitabant.
_20. Toga Cedit Armis_
POSTQVAM Discordia taetra
belli ferratos postes portasque refregit,
pellitur e medio sapientia, ui geritur res,
spernitur orator bonus, horridus miles amatur.
haut doctis dictis certantes nec maledictis
miscent inter sese inimicitiam agitantes,
non ex iure manum consertum, sed magis ferro
rem repetunt regnumque petunt, uadunt solida ui.
_21. Lesser Fragments of the Annals_
_i_
MVSAE, quae pedibus magnum pulsatis Olympum.
_ii_
Te, sale nata, precor, Venus, et genitrix patris nostri,
ut me de caelo uisas cognata parumper.
_iii_
Pectora fida tenet desiderium, simul inter
sese sic memorant: O Romule, Romule die,
qualem te patriae custodem di genuerunt!
O pater, O genitor, O sanguen dis oriundum,
tu produxisti nos intra luminis oras.
_iv_
Omnes mortales uictores, cordibus uiuis
laetantes, uino curatos, somnus repente
in campo passim mollissimus perculit acris.
_v_
At tuba terribili sonitu taratantara dixit.
incedunt arbusta per alta, securibus caedunt,
percellunt magnas quercus, exciditur ilex,
fraxinus frangitur atque abies consternitur alta,
pinus proceras peruortunt: omne sonabat
arbustum fremitu siluai frondosai.
_vi_
Multa dies in bello conficit unus:
et rursus multae fortunae forte recumbunt:
haudquaquam quemquam semper fortuna secuta est.
_vii_
Vnus homo nobis cunctando restituit rem,
non enim rumores ponebat ante salutem.
ergo postque magisque uiri nunc gloria claret.
_viii_
Concurrunt ueluti uenti cum spiritus Austri
imbricitor Aquiloque suo cum flamine contra
indu mari magno fluctus extollere certant.
_ix_
Iuppiter hic risit tempestatesque serenae
riserunt omnes risu Iouis omnipotentis.
_x_
Et tum sicut equus qui de praesepibus fartus
uincla suis magnis animis abrupit et inde
fert sese campi per caerula laetaque prata,
celso pectore saepe iubam quassat simul altam,
spiritus ex anima calida spumas agit altas.
_Dramatic Fragments_
_22. Alcmaeon_
VNDE haec, unde haec flamma exoritur?
incede, adsunt, me expetit agmen.
fer mi auxilium, pestem abige a me,
flammiferam hanc uim quae me excruciat.
caerulea incinctae angui incedunt,
circumstant cum ardentibus taedis.
eccum intendit crinitus Apollo
arcum auratum luna innixus:
Diana facem iacit a laeua.
_23. Andromache_
QVID petam praesidi aut exequar, quoue nunc
auxilio exili aut fugae freta sim?
arce et urbe orba sum: quo accedam, quo applicem,
cui nec arae patriae domi stant, fractae et disiectae iacent,
fana flamma deflagrata, tosti alti stant parietes
deformati atque abiete crispa ...
o pater, o patria: o Priami domus,
saeptum altisono cardine templum,
uidi ego te adstantem ope barbarica
tectis caelatis laqueatis
auro ebore instructam regifice ...
haec omnia uidi inflammari,
Priamo ui uitam euitari,
Iouis aram sanguine turpari.
_24. Cassandra_
_i_
MATER optuma, tu multo mulier melior mulierum,
missa sum superstitiosis hariolationibus,
meque Apollo fatis fandis dementem inuitam ciet.
uirgines uereor aequalis, patris mei meum factum pudet,
optumi uiri. mea mater, tui me miseret, mei piget:
optumam progeniem Priamo peperisti extra me; hoc dolet;
men obesse, illos prodesse, me obstare, illos obsequi.
adest, adest fax obuoluta sanguine atque incendio,
multos annos latuit, ciues, ferte opem et restinguite.
iamque mari magno classis cita
texitur, exitium examen rapit:
adueniet, fera ueliuolantibus
nauibus complebit manus litora ...
eheu uidete:
iudicauit inclitum iudicium inter deas tris aliquis:
quo iudicio Lacedaemona mulier Furiarum una adueniet.
_25. ii_
MEA mater grauida parere se ardentem facem
uisa est in somnis Hecuba; quo facto pater
rex ipse Priamus somnio mentis metu
perculsus curis sumptus suspirantibus
exsacrificabat hostiis balantibus.
tum coniecturam postulat pacem petens
ut se edoceret obsecrans Apollinem
quo sese uertant tantae sortes somnium.
ibi ex oraclo uoce diuina edidit
Apollo puerum primus Priamo qui foret
postilla natus temperaret tollere:
eum esse exitium Troiae, pestem Pergamo.
_26. Telamon_
EGO deum genus esse semper dixi et dicam caelitum,
sed eos non curare opinor quid agat humanum genus:
nam si curent, bene bonis sit, male malis, quod nunc abest ...
sed superstitiosi uates inpudentesque harioli,
aut inertes aut insani aut quibus egestas imperat,
qui sibi semitam non sapiunt, alteri monstrant uiam,
quibus diuitias pollicentur, ab iis drachumam ipsi petunt.
de his diuitiis sibi deducant drachumam, reddant cetera.
_27. Telamon_
EGO cum genui tum morituros sciui et ei rei sustuli;
praeterea ad Troiam cum misi ob defendendam Graeciam,
scibam me in mortiferum bellum, non in epulas mittere.
_28. Molestum Otium_
OTIO qui nescit utier
plus negoti habet quam cum est negotium in negotio;
nam cui quod agat institutumst (is) in illo negotio
id agit, (id) studet, ibi mentem atque animum delectat suum.
otioso in otio homini animus nescit quid uelit.
hoc idem est: em neque domi nunc nos nec militiae sumus:
imus huc, hinc illuc, cum illuc uentum est, ire illuc lubet.
incerte errat animus, praeter propter uitam uiuitur.
_29. Medeae Nutrix_
VTINAM ne in nemore Pelio securibus
caesa accedisset abiegna ad terram trabes,
neue inde nauis inchoandi exordium
coepisset, quae nunc nominatur nomine
Argo, quia Argiui in ea delecti uiri
uecti petebant pellem inauratam arietis
Colchis imperio regis Peliae per dolum.
nam numquam era errans mea domo efferret pedem
Medea animo aegro amore saeuo saucia.
_30. From the Iphigenia_
AGAM.
QVID noctis uidetur in altisono
caeli clipeo?
SENEX.
Temo superat
stellas sublimen agens etiam atque
etiam noctis iter.
_31. Epitaph for Scipio Africanus_
HIC est ille situs cui nemo ciuis neque hostis
quibit pro factis reddere opis pretium.
_32. The Same_
A SOLE exoriente supra Maeotis paludes
nemo est qui factis aequiperare potest.
si fas endo plagas caelestum ascendere cuiquam est,
mi soli caeli maxima porta patet.
_33. Scipio to Ennius_
ENNI poeta, salue, qui mortalibus
uersus propinas flammeos medullitus.
_34. His own Epitaph_
ASPICITE, o ciues, senis Enni imaginis formam.
hic uestrum panxit maxima facta patrum.
nemo me lacrimis decoret nec funera fletu
faxit. cur? uolito uiuos per ora uirum.
M. PACVVIVS
220-130 B.C.
_35. Fortune_
FORTVNAM insanam esse et caecam et brutam perhibent philosophi,
saxoque instare in globoso praedicant uolubili:
id quo saxum impulerit fors, eo cadere Fortunam autumant.
insanam autem esse aiunt, quia atrox incerta instabilis siet:
caecam ob eam rem esse iterant, quia nil cernat quo sese adplicet:
brutam, quia dignum atque indignum nequeat internoscere.
sunt autem alii philosophi, qui contra Fortuna negant
ullam miseriam esse, temeritatem esse omnia autumant.
id magis ueri simile esse usus reapse experiundo edocet:
uelut Orestes modo fuit rex, factust mendicus modo.
_36. The Greeks set sail from Troy_
SIC profectione laeti piscium lasciuiam
intuemur, nec tuendi satietas capier potest.
interea prope iam occidente sole inhorrescit mare,
tenebrae conduplicantur noctisque et nimbum obcaecat nigror,
flamma inter nubes coruscat, caelum tonitru contremit,
grando mixta imbri largifico subita praecipitans cadit,
undique omnes uenti erumpunt, saeui existunt turbines,
feruit aestu pelagus.
_37. Genitabile Caelum_
HOC uide circum supraque quod complexu continet terram
solisque exortu capessit candorem, occasu nigret,
id quod nostri caelum memorant, Grai perhibent aethera:
quidquid est hoc, omnia animat format alit auget creat
sepelit recipitque in sese omnia, omniumque idem est pater,
indidemque eadem aeque oriuntur de integro atque eodem occidunt.
_38. Speech_
O FLEXANIMA atque omnium regina rerum Oratio.
_39. Womanish Tears_
CONQVERI fortunam aduersam, non lamentari decet:
id uiri est officium, fletus muliebri ingenio additus.
_40. His Own Epitaph_
ADVLESCENS tam etsi properas, hoc te saxulum
rogat ut se aspicias, deinde, quod scriptum est, legas.
hic sunt poetae Pacuui Marci sita
ossa. hoc uolebam, nescius ne esses. uale.
L. ACCIVS
170-86 B.C.
_41. Tarquin's Dream_
TARQVINIVS
QVONIAM quieti corpus nocturno impetu
dedi sopore placans artus languidos:
uisust in somnis pastor ad me adpellere
pecus lanigerum eximia pulchritudine,
duos consanguineos arietes inde eligi
praeclarioremque alterum immolare me:
deinde eius germanum cornibus conitier,
in me arietare, eoque ictu me ad casum dari:
exin prostratum terra, grauiter saucium,
resupinum in caelo contueri maxime
mirificum facinus: dextrorsum orbem flammeum
radiatum solis linquier cursu nouo.
HARIOLVS
Rex, quae in uita ursurpant homines, cogitant curant uident,
quaeque agunt uigilantes agitantque, ea si cui in somno accidunt,
minus mirandum est, di rem tantam haut temere improuiso offerunt.
proin uide ne, quem tu esse hebetem deputas aeque ac pecus,
is sapientia munitum pectus egregie gerat
teque regno expellat: nam id quod de sole ostentum est tibi,
populo commutationem rerum portendit fore
perproquinquam. haec bene uerruncent populo! nam quod dexterum
cepit cursum ab laeua signum praepotens, pulcherrume
auguratum est rem Romanam publicam summam fore.
_42. The Argo seen by a Shepherd who has never seen a Ship_
TANTA moles labitur
fremibunda ex alto ingenti sonitu et spiritu.
prae se undas uoluit, uertices ui suscitat:
ruit prolapsa, pelagus respargit reflat.
ita dum interruptum credas nimbum uoluier,
dum quod sublime uentis expulsum rapi
saxum aut procellis, uel globosos turbines
existere ictos undis concursantibus:
nisi quas terrestris pontus strages conciet,
aut forte Triton fuscina euertens specus
supter radices penitus undante in freto
molem ex profundo saxeam ad caelum euehit.
_43. Shorter Fragments_
_i_
VIRTVTI sis par, dispar fortunis patris.
_ii_
Probae etsi in segetem sunt deteriorem datae
fruges, tamen ipsae suapte natura enitent.
_iii_
Probis probatus potius quam multis forem.
_iv_
Nam is demum miser est, cuius nobilitas miserias nobilitat.
_v_
Multi iniqui et infideles regno, pauci beniuoli.
_vi_
Oderint dum metuant.
ANONYMOUS
150 B.C. (?)
_44. Epitaph of Claudia_
HOSPES, quod deico paullum est, asta ac pellege.
heic est sepulcrum hau pulcrum pulcrai feminae:
nomen parentes nominarunt Claudiam.
suom mareitum corde deilexit souo:
gnatos duos creauit: horunc alterum
in terra linquit, alium sub terra locat.
sermone lepido, tum autem incessu commodo.
domum seruauit. lanam fecit. dixi. abei.
POMPILIVS
fl. 100 B.C.
_45. His Poetical Lineage_
PACVI discipulus dicor, porro is fuit Enni,
Ennius Musarum: Pompilius clueor.
VALERIVS AEDITVVS
fl. 100 B.C.
_46. The Lamp of Love_
QVID faculam praefers, Phileros, quae nil opus nobis?
ibimus sic: lucet pectoris flamma satis:
istam nam potis est uis saeua extinguere uenti,
aut imber caelo candidus praecipitans:
at contra hunc ignem Veneris, nisi si Venus ipsa,
nullast quae possit uis alia opprimere.
Q. LVTATIVS CATVLVS
Cons. 102 B.C.
_47. Lost: A Heart_
AVFVGIT mi animus; credo, ut solet, ad Theotimum
deuenit. sic est: perfugium illud habet.
quid? quasi non interdixem ne illunc fugitiuom
mitteret ad se intro, sed magis eiceret!
ibimus quaesitum. uerum ne ipsei teneamur
formido. quid ago? da, Venus, consilium.
_48. The Rising Sun of Roscius_
CONSTITERAM exorientem Auroram forte salutans,
cum subito a laeua Roscius exoritur.
pace mihi liceat, caelestes, dicere uestra:
mortalis uisust pulcrior esse deo.
PORCIVS LICINVS
fl. 100 B.C.
_49. Ignis Homo Est_
CVSTODES ouium tenerae propaginis, agnum,
quaeritis ignem? ite huc. quaeritis? ignis homost.
si digito attigero, incendam siluam simul omnem,
omne pecus flammast, omnia qua uideo.
_50. Terence corrupted by his Patrons_
DVM lasciuiam nobilium et laudes fucosas petit,
dum Africani uocem diuinam haurit auidis auribus,
dum ad Philum se cenitare et Laelium pulchrum putat,
dum se amari ab his concredit, crebro in Albanum uenit,
suis postlatis rebus ad summam inopiam redactus est.
itaque ex conspectu omnium abit ut Graeciae in terram ultumam,
mortuost Stymphali, Arcadiae in oppido: nil Publius
Scipio profuit, nihil illei Laelius, nil Furius,
tres per id tempus qui agitabant facile nobilissumei:
eorum ille opera ne domum quidem habuit conducticiam,
saltem ut esset quo referret obitum domini seruolus.
LAEVIVS
fl. 100 B.C.
_51. From the Erotopaegnia_
_i_
TV, Andromacha, per ludum manu
lasciuola ac tenellula
capiti meo, trepidans libens,
insolita plexti munera.
_ii_
CORPORE tenuato pectoreque
undique obeso ac mente exsensa
tardigeniclo senio obpressum.
_iii_
VENVS amoris altrix genetrix cuppiditatis, mihi
quae diem serenum hilarula praepandere cresti
opseculae tuae ac ministrae,
etsi ne utiquam, quid foret expauita grauis dura
fera asperaque famultas, potui domnio in accipere superbo.
M. FVRIVS BIBACVLVS
fl. 70 B.C.
_52. The Garden of Valerius Cato_
SI quis forte mei domum Catonis,
depictas minio assulas, et illos
custodis uidet hortulos Priapi,
miratur quibus ille disciplinis
tantam sit sapientiam assecutus,
quem tres cauliculi, selibra farris,
racemi duo tegula sub una
ad summam prope nutriant senectam.
_53. The Reward of the Scholar_
CATONIS modo, Galle, Tusculanum
tota creditor urbe uenditabat
mirati sumus unicum magistrum,
summum grammaticum, optumum poetam
omnes soluere posse quaestiones,
unum deficere expedire nomen:
en cor Zenodoti, en iecur Cratetis!
ORACVLVM
MARCIO VATI ATTRIBVTVM
76 B.C. (?)
_54._
AMNEM, Troiugena, Cannam fuge, defuge Cannam:
neue alienigenae cogant te conserere unquam
in campo Diomedis manus. sed tu neque credes
ante mihi donec compleris sanguine campum
multaque milia caesorum tibi deferat amnis
in pontum ex gremio terrai frugiferai:
quaeque colunt terras pisces uolucresque feraeque
his fuat esca caro tua. Iuppiter haec mihi fatust.
M. TVLLIVS CICERO
106-43 B.C.
_55. De Consulatu Suo_
PRINCIPIO aetherio flammatus Iuppiter igni
uertitur et totum conlustrat lumine mundum
menteque diuina caelum terrasque petessit,
quae penitus sensus hominum uitasque retentat,
aetheris aeterni saepta atque inclusa cauernis.
et si stellarum motus cursusque uagantis
nosse uelis, qua et sint signorum in sede locatae,
quae uerbo ex falsis Graiorum uocibus errant,
re uera certo lapsu spatioque feruntur,
omnia iam cernes diuina mente notata.
nam primum astrorum uolucris te consule motus
concursusque graui stellarum ardore micantis
tu quoque, cum tumulos Albano in monte niualis
lustrasti et laeto mactasti lacte Latinas,
uidisti et claro tremulos ardore cometas;
multaque misceri nocturna strage putasti,
quod ferme dirum in tempus cecidere Latinae,
cum claram speciem concreto lumine luna
abdidit et subito stellanti nocte perempta est.
quid uero, ut Phoebi fax, tristis nuntia belli,
quae magnum ad columen flammato ardore uolabat,
praecipitis caeli partis obitusque petessit?
aut cum terribili perculsus fulmine ciuis
luce serenanti uitalia lumina liquit?
aut cum se grauido tremefecit corpore tellus?
iam uero uariae nocturno tempore uisae
terribilis formae bellum motusque monebant,
multaque per terras uates oracla furenti
pectore fundebant tristis minitantia casus:
quidue ea quae lapsu ceciderunt aera uetusto?
haec, fora perpetuis signis clarisque frequentans,
ipse deum genitor caelo terrisque canebat.
aut ea Torquato quae quondam et consule Cotta
Lydius ediderat Tyrrhenae gentis haruspex?
omnia fixa tuus glomerans determinat annus.
nam pater altitonans stellanti nixus Olympo
ipse suos quondam tumulos ac templa petiuit
et Capitolinis iniecit sedibus ignis.
tum species ex aere uetus uenerataque Nattae
concidit elapsaeque uetusto numine leges,
et diuom simulacra peremit fulminis ardor.
hic siluestris erat Romani nominis altrix,
Martia, quae paruos Mauortis semine natos
uberibus grauidis uitali rore rigabat:
quae tum cum pueris flammato fulminis ictu
concidit atque auolsa pedum uestigia liquit.
tum quis non artis scripta ac monumenta uolutans
uoces tristificas chartis promebat Etruscis?
Lucmones, genus Etrusca de stirpe profectum,
uoluier ingentem cladem pestemque monebant,
tum legum exitium constanti uoce ferebant,
templa deumque adeo flammis urbemque iubebant
eripere et stragem horribilem caedemque uereri;
atque haec fixa graui fato ac fundata teneri,
nei posta excelsum ad columen formata decore
sancta Iouis species claros spectaret in ortus:
tum fore ut occultos populus sanctusque senatus
cernere conatus posset, si solis ad ortum
conuorsa inde patrum sedes populique uideret.
haec tardata diu species multumque morata
consule te tandem celsa est in sede locata;
atque una fixi ac signati temporis hora
Iuppiter excelsa clarabat sceptra columna
et clades patriae flamma ferroque parata
uocibus Allobrogum patribus populoque patebat.
rite igitur ueteres, quorum monumenta tenetis,
qui populos urbisque modo ac uirtute regebant,
rite etiam uostri, quorum pietasque fidesque
praestitit ac longe uicit sapientia cunctos,
praecipue coluere uigenti numine diuos.
haec adeo penitus cura uidere sagaci,
otia qui stadiis laeti tenuere decoris
inque Academia umbrifera nitidoque Lyceo
sudarunt claras fecundi pectoris artis.
e quibus ereptum, primo iam a flore iuuentae,
te patria in media uirtutum mole locauit.
tu tamen anxiferas curas requiete relaxans,
quod patriae uacat, his studiis nobisque sacrasti.
_56. Marius_
HIC Iouis altisoni subito pinnata satelles
arboris e trunco serpentis saucia morsu
subrigit, ipsa feris transfigens unguibus, anguem
semianimum et uaria grauiter ceruice micantem;
quem se intorquentem lanians rostroque cruentans,
iam satiata animo, iam duros ulta dolores,
abicit ecflantem et laceratum adfligit in undas,
seque obitu a solis nitidos conuertit ad ortus.
hanc ubi praepetibus pinnis lapsuque uolantem
conspexit Marius, diuini numinis augur,
faustaque signa suae laudis reditusque notauit,
partibus intonuit caeli pater ipse sinistris:
sic aquilae clarum firmauit Iuppiter omen.
_Translations from the Greek_
_57. From the Odyssey_
O DECVS Argolicum, quin puppim flectis, Vlixes,
auribus ut nostros possis agnoscere cantus?
nam nemo haec umquam est transuectus caerula cursu,
quin prius adstiterit uocum dulcedine captus,
post, uariis auido satiatus pectore Musis,
doctior ad patrias lapsus peruenerit oras.
nos graue certamen belli clademque tenemus
Graecia quam Troiae diuino numine uexit,
omneque quod celat frugum uix indiga tellus.
_58. From Sophocles_
O MVLTA dictu grauia, perpessu aspera,
quae corpore exanclata atque animo pertuli!
nec mihi Iunonis terror inplacabilis
nec tantum inuexit tristis Eurystheus mali,
quantum una uaecors Oenei partu edita.
haec me inretiuit ueste furiali inscium,
quae laterei inhaerens morsu lacerat uiscera,
urgensque grauiter pulmonum haurit spiritus:
iam decolorem sanguinem omnem exsorbuit.
sic corpus clade horribili absumptum extabuit:
ipse inligatus peste interemor textili.
hos non hostilis dextra, non Terra edita
moles Gigantum, non biformato impetu
Centaurus ictus corpori inflixit meo,
non Graia uis, non barbara ulla inmanitas,
non saeua terris gens relegata ultimis,
quas peragrans undique omnem ecferitatem expuli,
sed feminae uir feminea interemor manu.
o nate, uere hoc nomen usurpa patri,
neu me occidentem matris superet caritas.
huc adripe ad me manibus abstractam piis:
iam cernam mene an illam potiorem putes.
perge, aude, nate! inlacrima patris pestibus,
miserere: gentes nostras flebunt miserias.
heu, uirginalem me ore ploratum edere,
quem uidit nemo ulli ingemescentem malo!
ecfeminata uirtus adflicta occidit.
accede, nate, adsiste, miserandum aspice
euiscerati corpus laceratum patris!
uidete, cuncti, tuque, caelestum sator,
iace, obsecro, in me uim coruscam fulminis!
nunc nunc dolorum anxiferi torquent uertices,
nunc serpit ardor. o ante uictrices manus,
o pectora, o terga, o lacertorum tori,
uestrone pressu quondam Nemeaeus leo
frendens efflauit grauiter extremum halitum?
haec dextra Lernam taetra mactata excetra
pacauit, haec bicorporem adflixit manum,
Erymanthiam haec uastificam abiecit beluam,
haec e Tartarea tenebrica abstractum plaga
tricipitem adduxit Hydra generatum canem,
haec interemit tortu multiplicabili
draconem, auriferam optutu adseruantem arborem.
multa alia uictrix nostra lustrauit manus,
nec quisquam e nostris spolia cepit laudibus.
_59. From Euripides_
MORTALIS nemo est quem non attingit dolor
morbique multi: sunt humandi liberi,
rursum creandi, morsque est finita omnibus.
quae generei humano angorem nequicquam adferunt:
reddenda terrae est terra, tum uita omnibus
metenda, ut fruges: sic iubet necessitas.
C. HELVIVS CINNA
fl. 50 B.C.
_60. An Astronomical Poem written upon Mallow Leaves_
HAEC tibi Arateis multum uigilata lucernis
carmina, quis ignis nouimus aetherios,
leuis in aridulo maluae descripta libello
Prusiaca uexi munera nauicula.
M. TVLLIVS LAVREA
fl. 40 B.C.
_61. Magic Waters in the Garden of Cicero's Villa_
QVO tua, Romanae uindex clarissime linguae,
silua loco melius surgere iussa uiret
atque Academiae celebratam nomine uillam
nunc reparat cultu sub potiore Vetus,
hoc etiam apparent lymphae non ante repertae,
languida quae infuso lumina rore leuant.
nimirum locus ipse sui Ciceronis honori
hoc dedit, hac fontes cum patefecit ope,
ut, quoniam totum legitur sine fine per orbem,
sint plures oculis quae medeantur aquae.
Q. TVLLIVS CICERO
102-43 B.C.
_62. Astronomical Fragment_
FLVMINA uerna cient obscuro lumine Pisces
curriculumque Aries aequat noctisque diique,
cornua quem condunt florum praenuntia Tauri;
aridaque aestatis Gemini primordia pandunt,
longaque iam minuit praeclarus lumina Cancer,
languificosque Leo proflat ferus ore calores.
post modium quatiens Virgo fugat orta uaporem:
autumni reserat portas aequatque diurna
tempora nocturnis dispenso sidere Libra:
effetos ramos denudat flamma Nepai:
pigra Sagittipotens iaculatur frigora terris:
bruma gelu glaciat iubarem spirans Capricorni,
quem sequitur nebulas rorans liquor altus Aquari.
tanta supra circaque uigescunt lumina mundi;
at dextra laeuaque ciet rota fulgida Solis
mobile curriculum et Lunae simulacra feruntur.
C. IVLIVS CAESAR
100-44 B.C.
_63. Terence_
TV quoque tu in summis, o dimidiate Menander,
poneris, et merito, puri sermonis amator.
lenibus atque utinam scriptis adiuncta foret uis
comica, ut aequato uirtus polleret honore
cum Graecis, neue hac despectus pane iaceres!
unum hoc maceror aureolo tibi desse, Terenti.
C. LICINIVS MACER CALVVS
82-47 B.C.
_64. Fragments of Epithalamia_
_i_
_LILIVM_ uaga candido
nympha quod secet ungui.
_ii_
Vesper it ante iubar quatiens.
_iii_
Et leges sanctas docuit et cara iugauit
corpora conubiis et magnas condidit urbes.
_65. The Death of Quintilia_
FORSITAN hoc etiam gaudeat ipsa cinis.
T. LVCRETIVS CARVS
95-54 B.C.
_66. Exordium_
AENEADVM genetrix, hominum diuumque uoluptas,
alma Venus, caeli subter labentia signa
quae mare nauigerum, quae terras frugiferentis
concelebras, per te quoniam genus omne animantum
concipitur uisitque exortum lumina solis:
te, dea, te fugiunt uenti, te nubila caeli
aduentumque tuum, tibi suauis daedala tellus
summittit flores, tibi rident aequora ponti
placatumque nitet diffuso lumine caelum.
nam simul ac species patefactast uerna diei
et reserata uiget genitabilis aura fauoni,
aeriae primum uolucres te, diua, tuumque
significant initum perculsae corda tua ui.
inde ferae pecudes persultant pabula laeta
et rapidos tranant amnis: ita capta lepore
te sequitur cupide quo quamque inducere pergis.
denique per maria ac montis fluuiosque rapaces
frondiferasque domos auium camposque uirentis
omnibus incutiens blandum per pectora amorem
efficis ut cupide generatim saecla propagent.
quae quoniam rerum naturam sola gubernas
nec sine te quicquam dias in luminis oras
exoritur neque fit laetum neque amabile quicquam,
te sociam studeo scribendis uersibus esse
quos ego de rerum natura pangere conor
Memmiadae nostro, quem tu, dea, tempore in omni
omnibus ornatum uoluisti excellere rebus.
quo magis aeternum da dictis, diua, leporem.
effice ut interea fera moenera militiai
per maria ac terras omnis sopita quiescant.
nam tu sola potes tranquilla pace iuuare
mortalis, quoniam belli fera moenera Mauors
armipotens regit, in gremium qui saepe tuum se
reicit aeterno deuictus uulnere amoris,
atque ita suspiciens tereti ceruice reposta
pascit amore auidos inhians in te, dea, uisus,
eque tuo pendet resupini spiritus ore.
hunc tu, diua, tuo recubantem corpore sancto
circumfusa super, suauis ex ore loquelas
funde petens placidam Romanis, incluta, pacem.
nam neque nos agere hoc patriai tempore iniquo
possumus aequo animo nec Memmi clara propago
talibus in rebus communi desse saluti.
quod superest, uacuas auris animumque sagacem
semotum a curis adhibe ueram ad rationem,
ne mea dona tibi studio disposta fideli,
intellecta prius quam sint, contempta relinquas.
nam tibi de summa caeli ratione deumque
disserere incipiam et rerum primordia pandam,
unde omnis natura creet res auctet alatque,
quoue eadem rursum natura perempta resoluat,
quae nos materiem et genitalia corpora rebus
reddunda in ratione uocare et semina rerum
appellare suemus et haec eadem usurpare
corpora prima, quod ex illis sunt omnia primis.
Humana ante oculos foede cum uita iaceret
in terris oppressa graui sub religione,
quae caput a caeli regionibus ostendebat
horribili super aspectu mortalibus instans,
primum Graius homo mortalis tollere contra
est oculos ausus primusque obsistere contra:
quem neque fama deum nec fulmina nec minitanti
murmure compressit caelum, sed eo magis acrem
irritat animi uirtutem, effringere ut arta
naturae primus portarum claustra cupiret.
ergo uiuida uis animi peruicit, et extra
processit longe flammantia moenia mundi
atque omne immensum peragrauit mente animoque:
unde refert nobis uictor quid possit oriri,
quid nequeat, finita potestas denique cuique
quanam sit ratione atque alte terminus haerens.
quare religio pedibus subiecta uicissim
obteritur, nos exaequat uictoria caelo.
Illud in his rebus uereor, ne forte rearis
impia te rationis inire elementa uiamque
indugredi sceleris. quod contra saepius illa
religio peperit scelerosa atque impia facta:
Aulide quo pacto Triuiai uirginis aram
Iphianassai turparunt sanguine foede
ductores Danaum delecti, prima uirorum.
cui simul infula uirgineos circumdata comptus
ex utraque pari malarum parte profusast,
et maestum simul ante aras adstare parentem
sensit et hunc propter ferrum celare ministros
aspectuque suo lacrimas effundere ciuis,
muta metu terram genibus summissa petebat:
nec miserae prodesse in tali tempore quibat
quod patrio princeps donarat nomine regem;
nam sublata uirum manibus tremebundaque ad aras
deductast, non ut sollemni more sacrorum
perfecto posset claro comitari Hymenaeo,
sed casta inceste nubendi tempore in ipso
hostia concideret mactatu maesta parentis,
exitus ut classi felix faustusque daretur--
tantum religio potuit suadere malorum.
Tutemet a nobis iam quouis tempore uatum
terriloquis uictus dictis desciscere quaeres.
quippe etenim quam multa tibi iam fingere possunt
somnia quae uitae rationes uertere possint
fortunasque tuas omnis turbare timore!
et merito. nam si certam finem esse uiderent
aerumnarum homines, aliqua ratione ualerent
religionibus atque minis obsistere uatum.
nunc ratio nulla est restandi, nulla facultas,
aeternas quoniam poenas in morte timendumst.
ignoratur enim quae sit natura animai,
nata sit an contra nascentibus insinuetur,
et simul intereat nobiscum morte dirempta,
an tenebras Orci uisat uastasque lacunas,
an pecudes alias diuinitus insinuet se:
Ennius ut noster cecinit qui primus amoeno
detulit ex Helicone perenni fronde coronam,
per gentis Italas hominum quae clara clueret:
etsi praeterea tamen esse Acherusia templa
Ennius aeternis exponit uersibus edens,
quo neque permanent animae neque corpora nostra,
sed quaedam simulacra modis pallentia miris;
unde sibi exortam semper florentis Homeri
commemorat speciem lacrimas effundere salsas
coepisse et rerum naturam expandere dictis.
quapropter bene cum superis de rebus habenda
nobis est ratio, solis lunaeque meatus
qua fiant ratione, et qua ui quaeque gerantur
in terris, tum cum primis ratione sagaci
unde anima atque animi constet natura uidendum.
et quae res nobis uigilantibus obuia mentis
terrificet morbo adfectis somnoque sepultis,
cernere uti uideamur eos audireque coram,
morte obita quorum tellus amplectitur ossa.
Nec me animi fallit Graiorum obscura reperta
difficile inlustrare Latinis uersibus esse,
multa nouis uerbis praesertim cum sit agendum
propter egestatem linguae et rerum nouitatem;
sed tua me uirtus tamen et sperata uoluptas
suauis amicitiae quemuis sufferre laborem
suadet et inducit noctes uigilare serenas
quaerentem dictis quibus et quo carmine demum
clara tuae possim praepandere lumina menti,
res quibus occultas penitus conuisere possis.
Hunc igitur terrorem animi tenebrasque necessest
non radii solis neque lucida tela diei
discutiant, sed naturae species ratioque.
_67. The Rule of Reason_
SVAVE, mari magno turbantibus aequora uentis,
e terra magnum alterius spectare laborem;
non quia uexari quemquamst iucunda uoluptas,
sed quibus ipse malis careas quia cernere suaue est:
suaue etiam belli certamina magna tueri
per campos instructa tua sine parte pericli.
sed nil dulcius est, bene quam munita tenere
edita doctrina sapientum templa serena,
despicere unde queas alios passimque uidere
errare atque uiam palantis quaerere uitae,
certare ingenio, contendere nobilitate,
noctes atque dies niti praestante labore
ad summas emergere opes rerumque potiri.
o miseras hominum mentis, o pectora caeca!
qualibus in tenebris uitae quantisque periclis
degitur hoc aeui quodcumquest! nonne uidere
nil aliud sibi naturam latrare, nisi utqui
corpore seiunctus dolor absit, menti' fruatur
iucundo sensu cura semota metuque?
ergo corpoream ad naturam pauca uidemus
esse opus omnino, quae demant cumque dolorem.
delicias quoque uti multas substernere possint
gratius interdum, neque natura ipsa requirit,
si non aurea sunt iuuenum simulacra per aedes
lampadas igniferas manibus retinentia dextris,
lumina nocturnis epulis ut suppeditentur,
nec domus argento fulget auroque renidet
nec citharae reboant laqueata aurataque tecta.
cum tamen inter se prostrati in gramine molli
propter aquae riuum sub ramis arboris altae
non magnis opibus iucunde corpora curant,
praesertim cum tempestas arridet et anni
tempora conspergunt uiridantis floribus herbas.
nec calidae citius decedunt corpore febres,
textilibus si in picturis ostroque rubenti
iacteris, quam si in plebeia ueste cubandum est.
quapropter quoniam nil nostro in corpore gazae
proficiunt neque nobilitas nec gloria regni,
quod superest, animo quoque nil prodesse putandum;
si non forte tuas legiones per loca campi
feruere cum uideas belli simulacra cientis,
subsidiis magnis Epidauri constabilitas,
feruere cum uideas classem lateque uagari
ornatas armis stlattas pariterque animatas,
his tibi tum rebus timefactae religiones
effugiunt animo pauidae; mortisque timores
tum uacuum pectus linquunt curaque solutum.
quod si ridicula haec ludibriaque esse uidemus,
re ueraque metus hominum curaeque sequaces
nec metuunt sonitus armorum nec fera tela
audacterque inter reges rerumque potentis
uersantur neque fulgorem reuerentur ab auro
nec clarum uestis splendorem purpureai,
quid dubitas quin omni' sit haec rationi' potestas,
omnis cum in tenebris praesertim uita laboret?
nam ueluti pueri trepidant atque omnia caecis
in tenebris metuunt, sic nos in luce timemus
interdum, nilo quae sunt metuenda magis quam
quae pueri in tenebris pauitant finguntque futura.
_68. Magna Mater_
IN curru biiugos agitare leones
hanc ueteres Graium docti cecinere poetae,
aeris in spatio magnam pendere docentes
tellurem neque posse in terra sistere terram:
adiunxere feras, quia quamuis effera proles
officiis debet molliri uicta parentum:
muralique caput summum cinxere corona,
eximiis munita locis quia sustinet urbis;
quo nunc insigni per magnas praedita terras
horrifice fertur diuinae matris imago.
hanc uariae gentes antiquo more sacrorum
Idaeam uocitant matrem Phrygiasque cateruas
dant comites, quia primum ex illis finibus edunt
per terrarum orbem fruges coepisse creari.
gallos attribuunt, quia, numen qui uiolarint
matris et ingrati genitoribus inuenti sint,
significare uolunt indignos esse putandos,
uiuam progeniem qui in oras luminis edant.
tympana tenta tonant palmis et cymbala circum
concaua, raucisonoque minantur cornua cantu,
et Phrygio stimulat numero caua tibia mentis,
telaque praeportant uiolenti signa furoris,
ingratos animos atque impia pectora uulgi
conterrere metu quae possint numini' diuae.
ergo cum primum magnas inuecta per urbis
munificat tacita mortalis muta salute,
aere atque argento sternunt iter omne uiarum
largifica stipe ditantes ninguntque rosarum
floribus umbrantes matrem comitumque caterua.
hic armata manus, Curetas nomine Grai
quos memorant Phrygios, inter se forte quod armis
ludunt in numerumque exsultant sanguine laeti
terrificas capitum quatientes numine cristas,
Dictaeos referunt Curetas qui Iouis illum
uagitum in Creta quondam occultasse feruntur,
cum pueri circum puerum pernice chorea
armati in numerum pulsarent aeribus aera,
ne Saturnus eum malis mandaret adeptus
aeternumque daret matri sub pectore uulnus.
propterea magnam armati matrem comitantur,
aut quia significant diuam praedicere ut armis
ac uirtute uelint patriam defendere terram
praesidioque parent decorique parentibus esse.
quae bene et eximie quamuis disposta ferantur,
longe sunt tamen a uera ratione repulsa.
omnis enim per se diuum natura necessest
immortali aeuo summa cum pace fruatur
semota ab nostris rebus seiunctaque longe.
nam priuata dolore omni, priuata periclis,
ipsa suis pollens opibus, nil indiga nostri,
nec bene promeritis capitur neque tangitur ira.
hic siquis mare Neptunum Cereremque uocare
constituit fruges et Bacchi nomine abuti
mauult quam laticis proprium proferre uocamen,
concedamus ut hic terrarum dictitet orbem
esse deum matrem, dum uera re tamen ipse
religione animum turpi contingere parcat.
_69. Epicurus and the Fear of Death_
E TENEBRIS tantis tam clarum extollere lumen
qui primus potuisti inlustrans commoda uitae,
te sequor, o Graiae gentis decus, inque tuis nunc
ficta pedum pono pressis uestigia signis,
non ita certandi cupidus quam propter amorem
quod te imitari aueo; quid enim contendat hirundo
cycnis, aut quidnam tremulis facere artubus haedi
consimile in cursu possint et fortis equi uis?
tu, pater, es rerum inuentor, tu patria nobis
suppeditas praecepta, tuisque ex, inclute, chartis,
floriferis ut apes in saltibus omnia libant,
omnia nos itidem depascimur aurea dicta,
aurea, perpetua semper dignissima uita.
nam simul ac ratio tua coepit uociferari
naturam rerum, diuina mente coorta,
diffugiunt animi terrores, moenia mundi
discedunt, totum uideo per inane geri res.
apparet diuum numen sedesque quietae
quas neque concutiunt uenti nec nubila nimbis
aspergunt neque nix acri concreta pruina
cana cadens uiolat semperque innubilus aether
integit, et large diffuso lumine rident.
omnia suppeditat porro natura neque ulla
res animi pacem delibat tempore in ullo.
at contra nusquam apparent Acherusia templa
nec tellus obstat quin omnia dispiciantur,
sub pedibus quaecumque infra per inane geruntur.
his ibi me rebus quaedam diuina uoluptas
percipit atque horror, quod sic natura tua ui
tam manifesta patens ex omni parte retecta est.
Et quoniam docui cunctarum exordia rerum
qualia sint et quam uariis distantia formis
sponte sua uolitent aeterno percita motu,
quoue modo possint res ex his quaeque creari,
hasce secundum res animi natura uidetur
atque animae claranda meis iam uersibus esse
et metus ille foras praeceps Acheruntis agendus,
funditus humanam qui uitam turbat ab imo
omnia suffundens mortis nigrore neque ullam
esse uoluptatem liquidam puramque relinquit.
nam quod saepe homines morbos magis esse timendos
infamemque ferunt uitam quam Tartara leti
et se scire animae naturam sanguinis esse
aut etiam uenti, si fert ita forte uoluntas,
nec prorsum quicquam nostrae rationis egere,
hinc licet aduertas animum magis omnia laudis
iactari causa quam quod res ipsa probetur.
extorres idem patria longeque fugati
conspectu ex hominum, foedati crimine turpi,
omnibus aerumnis adfecti denique uiuunt,
et quocumque tamen miseri uenere parentant
et nigras mactant pecudes et manibu' diuis
inferias mittunt multoque in rebus acerbis
acrius aduertunt animos ad religionem.
quo magis in dubiis hominem spectare periclis
conuenit aduersisque in rebus noscere qui sit;
nam uerae uoces tum demum pectore ab imo
eliciuntur et eripitur persona mala re.
denique auarities et honorum caeca cupido,
quae miseros homines cogunt transcendere finis
iuris et interdum socios scelerum atque ministros
noctes atque dies niti praestante labore
ad summas emergere opes, haec uulnera uitae
non minimam partem mortis formidine aluntur.
turpis enim ferme contemptus et acris egestas
semota ab dulci uita stabilique uidetur
et quasi iam leti portas cunctarier ante;
unde homines dum se falso terrore coacti
effugisse uolunt longe longeque remosse,
sanguine ciuili rem conflant diuitiasque
conduplicant auidi, caedem caede accumulantes;
crudeles gaudent in tristi funere fratris
et consanguineum mensas odere timentque.
consimili ratione ab eodem saepe timore
macerat inuidia: ante oculos illum esse potentem,
illum aspectari, claro qui incedit honore,
ipsi se in tenebris uolui caenoque queruntur.
intereunt partim statuarum et nominis ergo;
et saepe usque adeo, mortis formidine, uitae
percipit humanos odium lucisque uidendae,
ut sibi consciscant maerenti pectore letum
obliti fontem curarum hunc esse timorem,
hunc uexare pudorem, hunc uincula amicitiai
rumpere et in summa pietatem euertere fraude.
nam iam saepe homines patriam carosque parentis
prodiderunt, uitare Acherusia templa petentes.
nam ueluti pueri trepidant atque omnia caecis
in tenebris metuunt, sic nos in luce timemus
interdum, nilo quae sunt metuenda magis quam
quae pueri in tenebris pauitant finguntque futura.
hunc igitur terrorem animi tenebrasque necessest
non radii solis neque lucida tela diei
discutiant, sed naturae species ratioque.
_70. The Powers of Hell_
DENIQVE si uocem rerum natura repente
mittat et hoc alicui nostrum sic increpet ipsa:
'quid tibi tanto operest, mortalis, quod nimis aegris
luctibus indulges? quid mortem congemis ac fles?
nam si grata fuit tibi uita anteacta priorque
et non omnia pertusum congesta quasi in uas
commoda perfluxere atque ingrata interiere:
cur non ut plenus uitae conuiua recedis
aequo animoque capis securam, stulte, quietem?
sin ea quae fructus cumque es periere profusa
uitaque in offensast, cur amplius addere quaeris,
rursum quod pereat male et ingratum occidat omne,
non potius uitae finem facis atque laboris?
nam tibi praeterea quod machiner inueniamque,
quod placeat, nil est: eadem sunt omnia semper.
si tibi non annis corpus iam marcet et artus
confecti languent, eadem tamen omnia restant,
omnia si pergas uiuendo uincere saecla,
atque etiam potius, si numquam sis moriturus,'
quid respondemus, nisi iustam intendere litem
naturam et ueram uerbis exponere causam?
grandior hic uero si iam seniorque queratur
atque obitum lamentetur miser amplius aequo,
non merito inclamet magis et uoce increpet acri?
'aufer abhinc lacrimas, balatro, et compesce querelas:
omnia perfunctus uitai praemia marces,
sed quia semper aues quod abest, praesentia temnis,
imperfecta tibi elapsast ingrataque uita
et nec opinanti mors ad caput adstitit ante
quam satur ac plenus possis discedere rerum.
nunc aliena tua tamen aetate omnia mitte
aequo animoque, agedum, iam aliis concede: necessest.'
iure, ut opinor, agat, iure increpet inciletque.
cedit enim rerum nouitate extrusa uetustas
semper, et ex aliis aliud reparare necessest:
nec quisquam in barathrum nec Tartara deditur atra.
materies opus est ut crescant postera saecla;
quae tamen omnia te uita perfuncta sequentur;
nec minus ergo ante haec quam tu cecidere, cadentque.
sic alid ex alio numquam desistet oriri,
uitaque mancipio nulli datur, omnibus usu.
respice item quam nil ad nos anteacta uetustas
temporis aeterni fuerit, quam nascimur ante.
hoc igitur speculum nobis natura futuri
temporis exponit post mortem denique nostram.
numquid ibi horribile apparet, num triste uidetur
quicquam, non omni somno securius exstat?
Atque ea nimirum quaecumque Acherunte profundo
prodita sunt esse, in uita sunt omnia nobis.
nec miser impendens magnum timet aere saxum
Tantalus, ut famast, cassa formidine torpens;
sed magis in uita diuum metus urget inanis
mortalis casumque timent quem cuique ferat fors;
nec Tityon uolucres ineunt Acherunte iacentem
nec quod sub magno scrutentur pectore quicquam
perpetuam aetatem possunt reperire profecto;
quamlibet immani proiectu corporis exstet,
qui non sola nouem dispessis iugera membris
obtineat, sed qui terrai totius orbem,
non tamen aeternum poterit perferre dolorem
nec praebere cibum proprio de corpore semper;
sed Tityos nobis non est in amore iacentem
quem uolucres lacerant: at quem exest anxius angor
aut alia quauis scindunt cuppedine curae.
Sisyphus in uita quoque nobis ante oculos est
qui petere a populo fascis saeuasque securis
imbibit et semper uictus tristisque recedit.
nam petere imperium quod inanest nec datur umquam,
atque in eo semper durum sufferre laborem,
hoc est aduerso nixantem trudere monte
saxum quod tamen e summo iam uertice rursum
uoluitur et plani raptim petit aequora campi.
deinde animi ingratam naturam pascere semper
atque explere bonis rebus satiareque numquam,
quod faciunt nobis annorum tempora, circum
cum redeunt fetusque ferunt uariosque lepores,
nec tamen explemur uitai fructibus umquam,
hoc, ut opinor, id est, aeuo florente puellas
quod memorant laticem pertusum congerere in uas,
quod tamen expleri nulla ratione potestur.
Cerberus et furiae iam uero et lucis egestas
Tartarus horriferos eructans faucibus aestus,
quid? neque sunt usquam nec possunt esse profecto.
sed metus in uita poenarum pro male factis
est insignibus insignis, scelerisque luella,
carcer et horribilis de saxo iactu' deorsum,
uerbera, carnifices, robur, pix, lammina, taedae;
quae tamen etsi absunt, at mens sibi conscia factis
praemetuens adhibet stimulos terretque flagellis,
nec uidet interea qui terminus esse malorum
possit nec quae sit poenarum denique finis,
atque eadem metuit magis haec ne in morte grauescant.
hic Acherusia fit stultorum denique uita.
Hoc etiam tibi tute interdum dicere possis
'lumina sis oculis etiam bonus Ancu' reliquit
qui melior multis quam tu fuit, improbe, rebus:
inde alii multi reges rerumque potentes
occiderunt, magnis qui gentibus imperitarunt:
ille quoque ipse, uiam qui quondam per mare magnum
strauit iterque dedit legionibus ire per altum
ac pedibus salsas docuit super ire lacunas
et contempsit equis insultans murmura ponti,
lumine adempto animam moribundo corpore fudit:
Scipiadas, belli fulmen, Carthaginis horror,
ossa dedit terrae proinde ac famul infimus esset:
adde repertores doctrinarum atque leporum,
adde Heliconiadum comites; quorum unus Homerus
sceptra potitus eadem aliis sopitu' quietest:
denique Democritum postquam matura uetustas
admonuit memores motus languescere mentis,
sponte sua leto caput obuius obtulit ipse:
ipse Epicurus obit decurso lumine uitae,
qui genus humanum ingenio superauit et omnis
restinxit stellas exortus ut aetherius sol.
tu uero dubitabis et indignabere obire?
mortua cui uita est prope iam uiuo atque uidenti,
qui somno partem maiorem conteris aeui
et uigilans stertis nec somnia cernere cessas
sollicitamque geris cassa formidine mentem
nec reperire potes tibi quid sit saepe mali, cum
ebrius urgeris multis miser undique curis
atque animi incerto fluitans errore uagaris.'
_71. The World's Conquerors_
QVIS potis est dignum pollenti pectore carmen
condere pro rerum maiestate hisque repertis?
quisue ualet uerbis tantum qui fingere laudes
pro meritis eius possit qui talia nobis
pectore parta suo quaesitaque praemia liquit?
nemo, ut opinor, erit mortali corpore cretus.
nam si, ut ipsa petit maiestas cognita rerum,
dicendum est, deus ille fuit, deus, inclute Memmi,
qui princeps uitae rationem inuenit eam quae
nunc appellatur sapientia, quique per artem
fluctibus e tantis uitam tantisque tenebris
in tam tranquillo et tam clara luce locauit.
confer enim diuina aliorum antiqua reperta.
namque Ceres fertur fruges Liberque liquoris
uitigeni laticem mortalibus instituisse;
cum tamen his posset sine rebus uita manere,
ut fama est aliquas etiam nunc uiuere gentis.
at bene non poterat sine puro pectore uiui;
quo magis hic merito nobis deus esse uidetur,
ex quo nunc etiam per magnas didita gentis
dulcia permulcent animos solacia uitae.
Herculis antistare autem si facta putabis,
longius a uera multo ratione ferere.
quid Nemeaeus enim nobis nunc magnus hiatus
ille leonis obesset et horrens Arcadius sus?
denique quid Cretae taurus Lernaeaque pestis
hydra uenenatis posset uallata colubris?
quidue tripectora tergemini uis Geryonai?
tanto opere officerent quid aues Stymphala colentes,
et Diomedis equi spirantes naribus ignem
Thracis Bistoniasque plagas atque Ismara propter?
aureaque Hesperidum seruans fulgentia mala,
asper, acerba tuens, immani corpore serpens
arboris amplexus stirpem quid denique obesset
propter Atlanteum litus pelageque sonora,
quo neque noster adit quisquam nec barbarus audet?
cetera de genere hoc quae sunt portenta perempta,
si non uicta forent, quid tandem uiua nocerent?
nil, ut opinor: ita ad satiatem terra ferarum
nunc etiam scatit et trepido terrore repleta est
per nemora ac montis magnos siluasque profundas;
quae loca uitandi plerumque est nostra potestas.
at nisi purgatumst pectus, quae proelia nobis
atque pericula sunt ingratis insinuanda?
quantae tum scindunt hominem cuppedinis acres
sollicitum curae quantique perinde timores?
quidue superbia spurcitia ac petulantia? quantas
efficiunt clades? quid luxus desidiaeque?
haec igitur qui cuncta subegerit ex animoque
expulerit dictis, non armis, nonne decebit
hunc hominem numero diuum dignarier esse?
cum bene praesertim multa ac diuinitus ipsis
immortalibu' de diuis dare dicta suerit
atque omnem rerum naturam pandere dictis.
_72. Primitive Man_
AT genus humanum multo fuit illud in aruis
durius, ut decuit, tellus quod dura creasset,
et maioribus et solidis magis ossibus intus
fundatum, ualidis aptum per uiscera neruis,
nec facile ex aestu nec frigore quod caperetur
nec nouitate cibi nec labi corporis ulla:
multaque per caelum solis uoluentia lustra
uulgiuago uitam tractabant more ferarum,
nec robustus erat curui moderator aratri
quisquam, nec scibat ferro molirier arua
nec noua defodere in terram uirgulta neque altis
arboribus ueteres decidere falcibu' ramos:
quod sol atque imbres dederant, quod terra crearat
sponte sua, satis id placabat pectora donum;
glandiferas inter curabant corpora quercus
plerumque; et quae nunc hiberno tempore cernis
arbuta puniceo fieri matura colore,
plurima tum tellus etiam maiora ferebat:
multaque praeterea nouitas tum florida mundi
pabula dura tulit, miseris mortalibus ampla:
at sedare sitim fluuii fontesque uocabant,
ut nunc montibus e magnis decursus aquai
claru' citat late sitientia saecla ferarum:
denique nota uagi siluestria templa tenebant
nympharum, quibus e scibant umori' fluenta
lubrica proluuie larga lauere umida saxa,
umida saxa, super uiridi stillantia musco,
et partim plano scatere atque erumpere campo:
necdum res igni scibant tractare neque uti
pellibus et spoliis corpus uestire ferarum,
sed nemora atque cauos montis siluasque colebant
et frutices inter condebant squalida membra,
uerbera uentorum uitare imbrisque coacti:
nec commune bonum poterant spectare neque ullis
moribus inter se scibant nec legibus uti:
quod cuique obtulerat praedae fortuna, ferebat
sponte sua sibi quisque ualere et uiuere doctus:
et Venus in siluis iungebat corpora amantum,
conciliabat enim uel mutua quamque cupido
uel uiolenta uiri uis atque impensa libido
uel pretium, glandes atque arbuta uel pira lecta:
et manuum mira freti uirtute pedumque
consectabantur siluestria saecla ferarum
missilibus saxis et magno pondere clauae,
multaque uincebant, uitabant pauca latebris;
saetigerisque subus pariles siluestria membra
nuda dabant terrae nocturno tempore capti,
circum se foliis ac frondibus inuoluentes:
nec plangore diem magno solemque per agros
quaerebant pauidi palantes noctis in umbris,
sed taciti respectabant somnoque sepulti,
dum rosea face sol inferret lumina caelo:
a paruis quod enim consuerant cernere semper
alterno tenebras et lucem tempore gigni,
non erat ut fieri posset mirarier umquam
nec diffidere ne terras aeterna teneret
nox in perpetuum detracto lumine solis;
sed magis illud erat curae, quod saecla ferarum
infestam miseris faciebant saepe quietem:
eiectique domo fugiebant saxea tecta
spumigeri suis aduentu ualidique leonis
atque intempesta cedebant nocte pauentes
hospitibus saeuis instrata cubilia fronde.
Nec nimio tum plus quam nunc mortalia saecla
dulcia linquebant languentis lumina uitae.
unus enim tum quisque magis deprensus eorum
pabula uiua feris praebebat, dentibus haustus,
et nemora ac montis gemitu siluasque replebat
uiua uidens uiuo sepeliri uiscera busto.
et quos effugium seruarat corpore adeso,
posterius tremulas super ulcera taetra tenentes
palmas horriferis accibant uocibus Orcum,
donec eos uita priuarant uermina saeua
expertis opis, ignaros quid uulnera uellent.
at non multa uirum sub signis milia ducta
una dies dabat exitio nec turbida ponti
aequora lidebant nauis ad saxa uirosque.
hic temere incassum frustra mare saepe coortum
saeuibat leuiterque minas ponebat inanis,
nec poterat quemquam placidi pellacia ponti
subdola pellicere in fraudem ridentibus undis,
improba nauigiis ratio cum caeca iacebat.
tum penuria deinde cibi languentia leto
membra dabat, contra nunc rerum copia mersat.
illi imprudentes ipsi sibi saepe uenenum
uergebant, uinum damni sollertia sumpsit.
_73. Origin of Belief in God_
NVNC quae causa deum per magnas numina gentis
peruulgarit et ararum compleuerit urbis
suscipiendaque curarit sollemnia sacra,
quae nunc in magnis florent sacra rebu' locisque,
unde etiam nunc est mortalibus insitus horror
qui delubra deum noua toto suscitat orbi
terrarum et festis cogit celebrare diebus,
non ita difficilest rationem reddere uerbis.
quippe etenim iam tum diuum mortalia saecla
egregias animo facies uigilante uidebant
et magis in somnis mirando corporis auctu.
his igitur sensum tribuebant propterea quod
membra mouere uidebantur uocesque superbas
mittere pro facie praeclara et uiribus amplis;
aeternamque dabant uitam, quia semper eorum
suppeditabatur facies et forma manebat,
et tamen omnino quod tantis uiribus auctos;
non temere ulla ui conuinci posse putabant;
fortunisque ideo longe praestare putabant,
quod mortis timor haud quemquam uexaret eorum,
et simul in somnis quia multa et mira uidebant
efficere et nullum capere ipsos inde laborem.
praeterea caeli rationes ordine certo
et uaria annorum cernebant tempora uerti,
nec poterant quibus id fieret cognoscere causis.
ergo perfugium sibi habebant omnia diuis
tradere et illorum nutu facere omnia flecti;
in caeloque deum sedis et templa locarunt,
per caelum uolui quia sol et luna uidetur,
luna dies et nox et noctis signa seuera
noctiuagaeque faces caeli flammaeque uolantes,
nubila sol imbres nix uenti fulmina grando
et rapidi fremitus et murmura magna minarum.
O genus infelix humanum, talia diuis
cum tribuit facta atque iras adiunxit acerbas!
quantos tum gemitus ipsi sibi, quantaque nobis
uulnera, quas lacrimas peperere minoribu' nostris!
nec pietas ullast uelatum saepe uideri
uertier ad lapidem atque omnis accedere ad aras
nec procumbere humi prostratum et pandere palmas
ante deum delubra nec aras sanguine multo
spargere quadrupedum nec uotis nectere uota,
sed mage pacata posse omnia mente tueri.
nam cum suspicimus magni caelestia mundi
templa super stellisque micantibus aethera fixum,
et uenit in mentem solis lunaeque uiarum,
tunc aliis oppressa malis in pectora cura
illa quoque expergefactum caput erigere infit,
nequae forte deum nobis immensa potestas
sit, uario motu quae candida sidera uerset.
temptat enim dubiam mentem rationis egestas,
ecquaenam fuerit mundi genitalis origo,
et simul ecquae sit finis, quoad moenia mundi
solliciti motus hunc possint ferre laborem,
an diuinitus aeterna donata salute
perpetuo possint aeui labentia tractu
immensi ualidas aeui contemnere uiris.
praeterea cui non animus formidine diuum
contrahitur, cui non correpunt membra pauore,
fulminis horribili cum plaga torrida tellus
contremit et magnum percurrunt murmura caelum?
non populi gentesque tremunt, regesque superbi
corripiunt diuum percussi membra timore,
nequid ob admissum foede dictumue superbe
poenarum graue sit soluendi tempus adultum?
summa etiam cum uis uiolenti per mare uenti
induperatorem classis super aequora uerrit
cum ualidis pariter legionibus atque elephantis,
non diuum pacem uotis adit ac prece quaesit
uentorum pauidus paces animasque secundas,
nequiquam, quoniam uiolento turbine saepe
correptus nilo fertur minus ad uada leti?
usque adeo res humanas uis abdita quaedam
obterit et pulchros fascis saeuasque securis
proculcare ac ludibrio sibi habere uidetur.
denique sub pedibus tellus cum tota uacillat
concussaeque cadunt urbes dubiaeque minantur,
quid mirum si se temnunt mortalia saecla
atque potestates magnas mirasque relinquunt
in rebus uiris diuum, quae cuncta gubernent?
C. VALERIVS CATVLLVS
84-54 B.C.
_74. A Hymn to Diana_
DIANAE sumus in fide
puellae et pueri integri:
Dianam pueri integri
puellaeque canamus.
o Latonia, maximi
magna progenies Iouis,
quam mater prope Deliam
deposiuit oliuam,
montium domina ut fores
siluarumque uirentium
saltuumque reconditorum
amniumque sonantum:
tu Lucina dolentibus
Iuno dicta puerperis,
tu potens Triuia et notho's
dicta lumine Luna.
tu cursu, dea, menstruo
metiens iter annuum,
rustica agricolae bonis
tecta frugibus exples.
sis quocumque tibi placet
sancta nomine, Romulique
antique ut solita's bona
sospites ope gentem.
_75. Hymen, O Hymenaee_
IVVENES
VESPER adest, iuuenes, consurgite: Vesper Olympo
exspectata diu uix tandem lumina tollit.
surgere iam tempus, iam pinguis linquere mensas,
iam ueniet uirgo, iam dicetur hymenaeus.
Hymen O Hymenaee, Hymen ades O Hymenaee!
VIRGINES
Cernitis, innuptae, iuuenes? consurgite contra;
nimirum Oetaeos ostendit noctifer ignes.
sic certest; uiden ut perniciter exsiluere?
non temere exsiluere, canent quod uisere par est.
Hymen O Hymenaee, Hymen ades O Hymenaee!
IVVENES
Non facilis nobis, aequales, palma parata est,
aspicite, innuptae secum ut meditata requirunt.
non frustra meditantur, habent memorabile quod sit,
nec mirum, penitus quae tota mente laborant.
nos alio mentes, alio diuisimus aures,
iure igitur uincemur, amat uictoria curam.
quare nunc animos saltem committite uestros,
dicere iam incipient, iam respondere decebit.
Hymen O Hymenaee, Hymen ades O Hymenaee!
VIRGINES
Hespere, qui caelo fertur crudelior ignis?
qui natam possis complexu auellere matris,
complexu matris retinentem auellere natam,
et iuueni ardenti castam donare puellam.
quid faciunt hostes capta crudelius urbe?
Hymen O Hymenaee, Hymen ades O Hymenaee!
IVVENES
Hespere, qui caelo lucet iucundior ignis?
qui desponsa tua firmes conubia flamma,
quae pepigere uiri, pepigerunt ante parentes,
nec iunxere prius quam se tuus extulit ardor.
quid datur a diuis felici optatius hora?
Hymen O Hymenaee, Hymen ades O Hymenaee!
VIRGINES
Hesperus e nobis, aequales, abstulit unam.
. . . . . . . .
Namque tuo aduentu uigilat custodia semper,
nocte latent fures, quos idem saepe reuertens,
Hespere, mutato comprendis nomine Eous.
Hymen O Hymenaee, Hymen ades O Hymenaee!
IVVENES
. . . . . . . .
. . . . . . . .
at libet innuptis ficto te carpere questu.
quid tum, si carpunt, tacita quem mente requirunt?
Hymen O Hymenaee, Hymen ades O Hymenaee!
VIRGINES
Vt flos in saeptis secretus nascitur hortis,
ignotus pecori, nullo contusus aratro,
quem mulcent aurae, firmat sol, educat imber;
multi illum pueri, multae optauere puellae:
idem cum tenui carptus defloruit ungui,
nulli illum pueri, nullae optauere puellae:
sic uirgo, dum intacta manet, dum cara suis est;
cum castum amisit polluto corpore florem,
nec pueris iucunda manet, nec cara puellis.
Hymen O Hymenaee, Hymen ades O Hymenaee!
IVVENES
Vt uidua in nudo uitis quae nascitur aruo,
numquam se extollit, numquam mitem educat uuam,
sed tenerum prono deflectens pondere corpus,
iam iam contingit summum radice flagellum,
hanc nulli agricolae, nulli coluere iuuenci:
at si forte eadem est ulmo coniuncta marito,
multi illam agricolae, multi coluere iuuenci:
sic uirgo dum intacta manet, dum inculta senescit;
cum par conubium maturo tempore adepta est,
cara uiro magis et minus est inuisa parenti.
et tu ne pugna cum tali coniuge uirgo,
non aequom est pugnare, pater cui tradidit ipse,
ipse pater cum matre, quibus parere necesse est.
uirginitas non tota tua est, ex parte parentum est,
tertia pars patrist, pars est data tertia matri,
tertia sola tua est: noli pugnare duobus,
qui genero sua iura simul cum dote dederunt.
Hymen O Hymenaee, Hymen ades O Hymenaee!
_76. Attis_
SVPER alta uectus Attis celeri rate maria,
Phrygium ut nemus citato cupide pede tetigit,
adiitque opaca siluis redimita loca deae,
stimulatus ibi furenti rabie, uagus animis,
deuolsit ilei acuto sibi pondera silice.
itaque ut relicta sensit sibi membra sine uiro,
etiam recente terrae sola sanguine maculans,
niueis citata cepit manibus leue typanum,
typanum tuom, Cybelle, tua, mater, initia,
quatiensque terga taurei teneris caua digitis,
canere haec suis adorta est tremebunda comitibus:
agite ite ad alta, Gallae, Cybeles nemora simul,
simul ite, Dindimenae dominae uaga pecora,
aliena quae petentes uelut exules loca,
sectam meam exsecutae duce me mihi comites,
rapidum salum tulistis truculentaque pelagi,
et corpus euirastis Veneris nimio odio;
hilarate Erae citatis erroribus animum.
mora tarda mente cedat: simul ite, sequimini
Phrygiam ad domum Cybelles, Phrygia ad nemora deae,
ubi cymbalum sonat uox, ubi tympana reboant,
tibicen ubi canit Phryx curuo graue calamo,
ubi capita Maenades ui iaciunt hederigerae,
ubi sacra sancta acutis ululatibus agitant,
ubi sueuit illa diuae uolitare uaga cohors,
quo nos decet citatis celerare tripudiis.
simul haec comitibus Attis cecinit notha mulier,
thiasus repente linguis trepidantibus ululat,
leue tympanum remugit, caua cymbala recrepant,
uiridem citus adit Idam properante pede chorus.
furibunda simul anhelans uaga uadit animam agens
comitata tympano Attis per opaca nemora dux,
ueluti iuuenca uitans onus indomita iugi:
rapidae ducem secuntur Gallae properipedem.
itaque, ut domum Cybelles tetigere lassulae,
nimio e labore somnum capiunt sine Cerere.
piger his labante languore oculos sopor operit:
abit in quiete molli rabidus furor animi.
sed ubi oris aurei Sol radiantibus oculis
lustrauit aethera album, sola dura, mare ferum,
pepulitque noctis umbras uegetis sonipedibus,
ibi Somnus excitum Attin fugiens citus abiit:
trepidante eum recepit dea Pasithea sinu.
ita de quiete molli rapida sine rabie
simul ipse pectore Attis sua facta recoluit,
liquidaque mente uidit sine queis ubique foret,
animo aestuante rusum reditum ad uada tetulit.
ibi maria uasta uisens lacrimantibus oculis,
patriam allocuta maestast ita uoce miseriter:
'patria o mei creatrix, patria o mea genetrix,
ego quam miser relinquens, dominos ut herifugae
famuli solent, ad Idae tetuli nemora pedem,
ut aput niuem et ferarum gelida stabula forem,
et aprum uias adirem, furibunda latibula,
ubinam aut quibus locis te positam, patria, reor?
cupit ipsa pupula ad te sibi dirigere aciem,
rabie fera carens dum breue tempus animus est.
egone a mea remota haec ferar in nemora domo?
patria, bonis amicis, genitoribus abero?
abero foro, palaestra, stadio et gymnasiis?
miser a miser, querendum est etiam atque etiam, anime.
quod enim genus figuraest, ego non quod obierim?
ego enim uir, ego adolescens, ego ephebus, ego puer,
ego guminasei fui flos, ego eram decus olei:
mihi ianuae frequentes, mihi limina tepida,
mihi floridis corollis redimita domus erat,
linquendum ubi esset orto mihi sole cubiculum.
ego nunc deum ministra et Cybeles famula ferar?
ego Maenas, ego mei pars, ego uir sterilis ero?
ego uiridis algida Idae niue amicta loca colam?
ego uitam agam sub altis Phrygiae columinibus,
ubi cerua siluicultrix, ubi aper nemoriuagus?
iam iam dolet quod egi, iam iamque paenitet.'
roseis ut huic labellis sonitus citus abiit,
geminas deorum ad auris noua nuntia referens,
ibi iuncta iuga resoluens Cybele leonibus
laeuumque pecoris hostem stimulans ita loquitur:
'agedum' inquit 'age ferox i, face ut hunc furor agitet,
face uti furoris ictu reditum in nemora ferat,
mea libere nimis qui fugere imperia cupit.
age caede terga cauda, tua uerbera patere,
face cuncta mugienti fremitu loca retonent,
rutilam ferox torosa ceruice quate iubam.'
ait haec minax Cybelle religatque iuga manu.
ferus ipse sese adhortans rapidum incitat animo,
uadit, fremit, refringit uirgulta pede uago.
at ubi umida albicantis loca litoris adiit,
tenerumque uidit Attin prope marmora pelagei,
facit impetum: ille demens fugit in nemora fera:
ibi semper omne uitae spatium famula fuit.
dea, magna dea, Cybelle, dea, domina Dindimei,
procul a mea tuos sit furor omnis, hera, domo:
alios age incitatos, alios age rabidos.
_77. Iunia weds with Manlius_
COLLIS o Heliconiei
cultor, Vraniae genus,
qui rapis teneram ad uirum
Virginem, O Hymenaee Hymen,
Hymen O Hymenaee;
Cinge tempora floribus
suaue olentis amaraci,
flammeum cape laetus, huc
Huc ueni, niueo gerens
luteum pede soccum.
Excitusque hilari die,
nuptialia concinens
uoce carmina tinnula,
Pelle humum pedibus, manu
pineam quate taedam.
Namque Iunia Manlio,
qualis Idalium colens
uenit ad Phrygium Venus
Iudicem, bona cum bona
nubet alite uirgo,
Floridis uelut enitens
myrtus Asia ramulis
quos Amadryades deae
Ludicrum sibi rosido
nutriuntur honore.
Quare age, huc aditum ferens,
perge linquere Thespiae
rupis Aonios specus;
Nympha quos super irrigat
frigerans Aganippe.
Ac domum dominam uoca
coniugis cupidam noui,
mentem amore reuinciens
Vt tenax hedera huc et huc
arborem implicat errans.
Vosque item simul integrae
uirgines, quibus aduenit
par dies, agite in modum
Dicite, O Hymenaee Hymen,
Hymen O Hymenaee.
Vt lubentius, audiens
se citarier ad suum
munus, huc aditum ferat
Dux bonae Veneris, boni
coniugator amoris.
Quis deus magis est amat-
is petendus amantibus?
quem colent homines magis
Caelitum, O Hymenaee Hymen,
Hymen O Hymenaee?
Te suis tremulus parens
inuocat, tibi uirgines
zonula soluunt sinus.
Te timens cupida nouos
captat aure maritus.
Tu fero iuueni in manus
floridam ipse puellulam
dedis a gremio suae
Matris, O Hymenaee Hymen,
Hymen O Hymenaee.
Nil potest sine te Venus,
fama quod bona comprobet,
commodi capere, at potest
Te uolente. quis huic deo
compararier ausit?
Quae tuis careat sacris,
non queat dare praesides
terra finibus: at queat
Te uolente. quis huic deo
compararier ausit?
Claustra pandite ianuae:
uirgo adest. uiden ut faces
splendidas quatiunt comas?
. . . . . .
. . . . . .
. . . . . .
. . . . . .
tardet ingenuus pudor:
Quem tamen magis audiens,
flet quod ire necesse est.
Flere desine. non tibi, Au-
runculeia, periculum est,
ne qua femina pulcrior
Clarum ab Oceano diem
uiderit uenientem.
Talis in uario solet
diuitis domini hortulo
stare flos hyacinthinus.
Sed moraris, abit dies,
prodeas noua nupta.
Prodeas noua nupta, si
iam uidetur, et audias
nostra uerba. uiden? faces
Aureas quatiunt comas:
prodeas noua nupta.
Non tuus leuis in mala
deditus uir adultera,
probra turpia persequens,
A tuis teneris uolet
secubare papillis.
Lenta qui uelut adsitas
uitis implicat arbores,
implicabitur in tuum
Complexum. sed abit dies:
prodeas noua nupta.
Quae tuo ueniunt hero,
quanta gaudia, quae uaga
nocte, quae medio die
Gaudeat. sed abit dies:
prodeas noua nupta.
Tollite, O pueri, faces:
flammeum uideo uenire.
ite concinite in modum
'Io Hymen Hymenaee io,
io Hymen Hymenaee.'
Nupta, tu quoque quae tuus
uir petet caue ne neges,
ni petitum aliunde eat.
Io Hymen Hymenaee io
io Hymen Hymenaee.
En tibi domus ut potens
et beata uiri tui.
quae tibi sine seruiat
(Io Hymen Hymenaee io,
io Hymen Hymenaee)
Vsque dum tremulum mouens
cana tempus anilitas
omnia omnibus annuit.
Io Hymen Hymenaee io,
io Hymen Hymenaee.
Transfer omine cum bono
limen aureolos pedes,
rasilemque subi forem.
Io Hymen Hymenaee io,
io Hymen Hymenaee.
Aspice unus ut accubans
uir tuus Tyrio in toro,
totus immineat tibi.
Io Hymen Hymenaee io,
io Hymen Hymenaee.
Illi non minus ac tibi
pectore uritur intimo
flamma, sed penite magis
Io Hymen Hymenaee io,
io Hymen Hymenaee.
Mitte brachiolum teres,
praetextate, puellulae.
iam cubile adeat uiri.
Io Hymen Hymenaee io,
io Hymen Hymenaee.
Vos bonae senibus uiris
cognitae bene feminae,
collocate puellulam.
Io Hymen Hymenaee io,
io Hymen Hymenaee.
Iam licet uenias, marite.
uxor in thalamo tibi est,
ore floridulo nitens
Alba parthenice uelut
luteumue papauer.
At, marite, ita me iuuent
caelites, nihilo minus
pulcer es, neque te Venus
Neglegit. sed abit dies
perge, ne remorare.
Non diu remoratus es.
iam uenis. bona te Venus
iuuerit, quoniam palam
Quae cupis capis et bonum
non abscondis amorem.
Ille pulueris Africei
siderumque micantium
subducat numerum prius,
Qui uostri numerare uolt
multa milia ludei.
Ludite ut lubet et breui
liberos date. non decet
tam uetus sine liberis
Nomen esse, sed indidem
semper ingenerari.
Torquatus uolo paruulus
matris e gremio suae
porrigens teneras manus,
Dulce rideat ad patrem
semihiante labello.
Sit suo similis patri
Manlio et facile inscieis
noscitetur ab omnibus:
Sic pudicitiam suo
matris indicet ore.
Talis illius a bona
matre laus genus approbet,
qualis unica ab optima
Matre Telemacho manet
fama Penelopeo.
Claudite ostia uirgines.
lusimus satis. at bonei
coniuges, bene uiuite et
Munere assidue ualentem
exercete iuuentam.
_78. To Cornelius Nepos: A Dedication_
QVOI dono lepidum nouum libellum
arido modo pumice expolitum?
Corneli, tibi: namque tu solebas
meas esse aliquid putare nugas;
iam tum cum ausus es unus Italorum
omne aeuum tribus explicare cartis
doctis, Iuppiter, et laboriosis.
quare habe tibi quidquid hoc libelli
qualecumque; quod, o patrona uirgo,
plus uno maneat perenne saeclo.
_79. To Veranius: A Welcome Home_
VERANI, omnibus e meis amicis
antistans mihi milibus trecentis,
uenistine domum ad tuos Penates
fratresque unanimos anumque matrem?
uenisti. o mihi nuntii beati!
uisam te incolumem audiamque Hiberum
narrantem loca, facta, nationes,
ut mos est tuus, applicansque collum
iucundum os oculosque suauiabor.
o quantum est hominum beatiorum,
quid me laetius est beatiusue?
_80. A Letter to Caecilius_
POETAE tenero, meo sodali,
uelim Caecilio, papyre, dicas
Veronam ueniat, Noui relinquens
Comi moenia Lariumque litus.
nam quasdam uolo cogitationes
amici accipiat sui meique,
quare si sapiet uiam uorabit,
quamuis candida milies puella
euntem reuocet, manusque collo
ambas iniciens roget morari.
quae nunc, si mihi uera nuntiantur,
illum deperit impotente amore.
nam quo tempore legit incohatam
Dindymi dominam, ex eo misellae
ignes interiorem edunt medullam.
ignosco tibi, Sapphica puella
musa doctior; est enim uenuste
magna Caecilio incohata mater.
_81. Farewell to Bithynia_
IAM uer egelidos refert tepores,
iam caeli furor aequinoctialis
iucundis Zephyri silescit aureis.
linquantur Phrygii, Catulle, campi
Nicaeaeque ager uber aestuosae:
ad claras Asiae uolemus urbes.
iam mens praetrepidans auet uagari,
iam laeti studio pedes uigescunt.
o dulces comitum ualete coetus,
longe quos simul a domo profectos
diuersae uariae uiae reportant.
_82. Home-coming to Sirmio_
PAENE insularum, Sirmio, insularumque
ocelle, quascumque in liquentibus stagnis
marique uasto fert uterque Neptunus;
quam te libenter quamque laetus inuiso,
uix mi ipse credens Thuniam atque Bithunos
liquisse campos et uidere te in tuto.
o quid solutis est beatius curis,
cum mens onus reponit, ac peregrino
labore fessi uenimus larem ad nostrum,
desideratoque acquiescimus lecto?
hoc est quod unum est pro laboribus tantis.
salue, o uenusta Sirmio, atque hero gaude;
gaudete uosque, o Lydiae lacus undae;
ridete quidquid est domi cachinnorum.
_83. The tender Love of Acme and Septimius_
ACMEN Septimios suos amores
tenens in gremio 'mea,' inquit, 'Acme,
ni te perdite amo atque amare porro
omnes sum assidue paratus annos
quantum qui pote plurimum perire,
solus in Libya Indiaque tosta
caesio ueniam obuius leoni.'
hoc ut dixit, Amor, sinistra ut ante,
dextram sternuit approbationem.
at Acme leuiter caput reflectens,
et dulcis pueri ebrios ocellos
illo purpureo ore suauiata,
'sic,' inquit, 'mea uita Septimille,
huic uni domino usque seruiamus,
ut multo mihi maior acriorque
ignis mollibus ardet in medullis.'
hoc ut dixit, Amor, sinistra ut ante,
dextram sternuit approbationem.
nunc ab auspicio bono profecti
mutuis animis amant amantur.
unam Septimios misellus Acmen
mauult quam Syrias Britanniasque:
uno in Septimio fidelis Acme
facit delicias libidinesque.
quis ullos homines beatiores
uidit, quis Venerem auspicatiorem?
_84. '{Phainetai moi kênos isos theoisin}'_
ILLE mi par esse deo uidetur,
ille, si fas est, superare diuos,
qui sedens aduersus identidem te
spectat et audit
dulce ridentem, misero quod omnis
eripit sensus mihi: nam simul te,
Lesbia, aspexi, nihil est super mi,
Lesbia, uocis.
lingua sed torpet, tenuis sub artus
flamma demanat, sonitu suopte
tintinant aures, gemina teguntur
lumina nocte.
_85. Lesbia's Sparrow_
_a_
PASSER, deliciae meae puellae,
quicum ludere, quem in sinu tenere,
quoi primum digitum dare adpetenti
et acris solet incitare morsus,
cum desiderio meo nitenti
carum nescio quid libet iocari,
et solaciolum sui doloris,
credo, et cum grauis acquiescit ardor:
tecum ludere, sicut ipsa, possem,
et tristis animi leuare curas.
_b_
Lugete, o Veneres Cupidinesque,
et quantum est hominum uenustiorum.
passer mortuus est meae puellae,
passer, deliciae meae puellae,
quem plus illa oculis suis amabat:
nam mellitus erat suamque norat
ipsam tam bene quam puella matrem.
nec sese a gremio illius mouebat,
sed circumsiliens modo huc modo illuc
ad solam dominam usque pipiabat.
qui nunc it per iter tenebricosum
illuc, unde negant redire quenquam.
at uobis male sit, malae tenebrae
Orci, quae omnia bella deuoratis:
tam bellum mihi passerem abstulistis.
uae factum male! uae miselle passer,
tua nunc opera meae puellae.
flendo turgiduli rubent ocelli.
_86. To Lesbia, not to count Kisses_
_a_
VIVAMVS, mea Lesbia, atque amemus,
rumoresque senum seueriorum
omnes unius aestimemus assis.
soles occidere et redire possunt:
nobis cum semel occidit breuis lux,
nox est perpetua una dormienda.
da mi basia mille, deinde centum,
dein mille altera, dein secunda centum,
deinde usque altera mille, deinde centum;
dein, cum milia multa fecerimus,
conturbabimus illa, ne sciamus,
aut ne quis malus inuidere possit,
cum tantum sciat esse basiorum.
_b_
Quaeris, quot mihi basiationes
tuae, Lesbia, sint satis superque?
quam magnus numerus Libyssae harenae
lasarpiciferis iacet Cyrenis,
oraclum Iouis inter aestuosi
et Batti ueteris sacrum sepulcrum;
aut quam sidera multa, cum tacet nox
furtiuos hominum uident amores;
tam te basia multa basiare
uesano satis et super Catullo est,
quae nec pernumerare curiosi
possint nec mala fascinare lingua.
_87. Everlasting Love_
_a_
IVCVNDVM, mea uita, mihi proponis amorem
hunc nostrum inter nos perpetuumque fore.
di magni, facite ut uere promittere possit,
atque id sincere dicat et ex animo,
ut liceat nobis tota perducere uita
aeternum hoc sanctae foedus amicitiae.
_b_
Nulla potest mulier tantum se dicere amatam
uere, quantum a me Lesbia amata mea es.
nulla fides ullo fuit umquam in foedere tanta,
quanta in amore tuo ex parte reperta mea est.
_88. Woman's Words_
NVLLI se dicit mulier mea nubere malle
quam mihi, non si se Iuppiter ipse petat.
dicit: sed mulier cupido quod dicit amanti,
in uento et rapida scribere oportet aqua.
_89. Man's Ingratitude_
DESINE de quoquam quisquam bene uelle mereri,
aut aliquem fieri posse putare pium.
omnia sunt ingrata, nihil fecisse benigne
prodest, immo etiam taedet obestque magis;
ut mihi, quem nemo grauius nec acerbius urget,
quam modo qui me unum atque unicum amicum habuit.
_90. To Quintius: A Supplication_
QVINTI, si tibi uis oculos debere Catullum
aut aliud si quid carius est oculis,
eripere ei noli, multo quod carius illi
est oculis seu quid carius est oculis.
_91. Loving and Liking_
_a_
DICEBAS quondam solum te nosse Catullum,
Lesbia, nec prae me uelle tenere Iouem.
dilexi tum te non tantum ut uulgus amicam,
sed pater ut natos diligit et generos.
nunc te cognoui: quare etsi impensius uror,
multo mei tamen es uilior et leuior.
qui potis est? inquis. Quod amantem iniuria talis
cogit amare magis, sed bene uelle minus.
_b_
Huc est mens deducta tua, mea Lesbia, culpa,
atque ita se officio perdidit ipsa suo,
ut iam nec bene uelle queat tibi, si optima fias,
nec desistere amare, omnia si facias.
_92. Miser Catulle_
MISER Catulle, desinas ineptire,
et quod uides perisse perditum ducas.
fulsere quondam candidi tibi soles,
cum uentitabas quo puella ducebat
amata nobis quantum amabitur nulla.
ibi illa multa tum iocosa fiebant,
quae tu uolebas nec puella nolebat.
fulsere uere candidi tibi soles.
nunc iam illa non uolt: tu quoque inpotens noli,
nec quae fugit sectare, nec miser uiue,
sed obstinata mente perfer, obdura.
uale, puella. iam Catullus obdurat,
nec te requiret nec rogabit inuitam.
at tu dolebis, cum rogaberis nulla.
scelesta, uae te, quae tibi manet uita!
quis nunc te adibit? cui uideberis bella?
quem nunc amabis? cuius esse diceris?
quem basiabis? cui labella mordebis?
at tu, Catulle, destinatus obdura.
_93. Odi et Amo_
ODI et amo: quare id faciam, fortasse requiris.
nescio, sed fieri sentio et excrucior.
_94. Num te leaena...?_
NVM te leaena montibus Libystinis
aut Scylla latrans infima inguinum parte
tam mente dura procreauit ac taetra,
ut supplicis uocem in nouissimo casu
contemptam haberes, a nimis fero corde?
_95. Nuntium Remittit Cynthiae_
FVRI et Aureli, comites Catulli,
siue in extremos penetrabit Indos,
litus ut longe resonante Eoa
tunditur unda,
siue in Hyrcanos Arabesque molles,
seu Sagas sagittiferosue Parthos,
siue quae septemgeminus colorat
aequora Nilus,
siue trans altas gradietur Alpes,
Caesaris uisens monimenta magni,
Gallicum Rhenum, horrida tescua, ulti-
mosque Britannos,
omnia haec, quocunque feret uoluntas
caelitum, temptare simul parati:--
pauca nuntiate meae puellae
non bona dicta.
cum suis uiuat ualeatque moechis,
quos simul complexa tenet trecentos,
nullum amans uere, sed identidem omnium
ilia rumpens:
nec meum respectet, ut ante, amorem,
qui illius culpa cecidit uelut prati
ultimi flos, praetereunte postquam
tactus aratro est.
_96. To Alfenus, who betrayed him_
ALFENE immemor atque unanimis false sodalibus
iam te nil miseret, dure, tui dulcis amiculi?
iam me prodere, iam non dubitas fallere, perfide?
nec facta impia fallacum hominum caelicolis placent.
quae tu neglegis ac me miserum deseris in malis.
eheu quid faciant, dice, homines cuiue habeant fidem?
certe tute iubebas animam tradere, inique, me
inducens in amorem, quasi tuta omnia mi forent.
idem nunc retrahis te ac tua dicta omnia factaque
uentos irrita ferre ac nebulas aereas sinis.
si tu oblitus es, at di meminerunt, meminit Fides,
quae te ut paeniteat postmodo facti faciet tui.
_97. Vitam puriter egi_
SIQVA recordanti benefacta priora uoluptas
est homini, cum se cogitat esse pium,
nec sanctam uiolasse fidem, nec foedere in ullo
diuum ad fallendos numine abusum homines,
multa parata manent in longa aetate, Catulle,
ex hoc ingrato gaudia amore tibi.
nam quaecumque homines bene cuiquam aut dicere possunt
aut facere, haec a te dictaque factaque sunt:
omnia quae ingratae perierunt credita menti.
quare cur curis te amplius excrucies?
quin tu animo offirmas atque istinc te ipse reducis,
et dis inuitis desinis esse miser?
difficile est longum subito deponere amorem?
difficile est, uerum hoc qua lubet efficias:
una salus haec est, hoc est tibi peruincendum,
hoc facias, siue id non pote siue pote.
o di, si uestrum est misereri, aut si quibus umquam
extremam iam ipsa in morte tulistis opem,
me miserum aspicite et, si uitam puriter egi,
eripite hanc pestem perniciemque mihi:
sic mihi surrepens imos ut torpor in artus
expulit ex omni pectore laetitias.
non iam illud quaero, contra ut me diligat illa,
aut, quod non potis est, esse pudica uelit:
ipse ualere opto et taetrum hunc deponere morbum.
o di, reddite mi hoc pro pietate mea.
_98. To Manlius: written in affliction_
QVOD mihi fortuna casuque oppressus acerbo
conscriptum hoc lacrimis mittis epistolium,
naufragum ut eiectum spumantibus aequoris undis
subleuem et a mortis limine restituam,
quem neque sancta Venus molli requiescere somno
desertum in lecto caelibe perpetitur,
nec ueterum dulci scriptorum carmine Musae
oblectant, cum mens anxia peruigilat:
id gratum est mihi, me quoniam tibi dicis amicum,
muneraque et Musarum hinc petis et Veneris:
sed tibi ne mea sint ignota incommoda, Manli,
neu me odisse putes hospitis officium,
accipe, quis merser fortunae fluctibus ipse,
ne amplius a misero dona beata petas.
tempore quo primum uestis mihi tradita pura est,
iucundum cum aetas florida uer ageret,
multa satis lusi: non est dea nescia nostri,
quae dulcem curis miscet amaritiem:
sed totum hoc studium luctu fraterna mihi mors
abstulit. o misero frater adempte mihi,
tu mea tu moriens fregisti commoda, frater,
tecum una tota est nostra sepulta domus,
omnia tecum una perierunt gaudia nostra,
quae tuus in uita dulcis alebat amor.
cuius ego interitu tota de mente fugaui
haec studia atque omnis delicias animi.
quare, quod scribis Veronae turpe Catullo
esse, quod hic quisquis de meliore nota
frigida deserto tepefacsit membra cubili,
id, Manli, non est turpe, magis miserum est.
ignosces igitur, si, quae mihi luctus ademit,
haec tibi non tribuo munera, cum nequeo.
nam, quod scriptorum non magna est copia apud me,
hoc fit, quod Romae uiuimus: illa domus,
illa mihi sedes, illic mea carpitur aetas:
huc una ex multis capsula me sequitur.
quod cum ita sit, nolim statuas nos mente maligna
id facere aut animo non satis ingenuo,
quod tibi non utriusque petenti copia praesto est:
ultro ego deferrem, copia siqua foret.
_99. The Friendship of Allius_
NON possum reticere, deae, qua me Allius in re
iuuerit aut quantis iuuerit officiis,
ne fugiens saeclis obliuiscentibus aetas
illius hoc caeca nocte tegat studium:
sed dicam uobis, uos porro dicite multis
milibus et facite haec carta loquatur anus,
nec tenuem texens sublimis aranea telam
in deserto Alli nomine opus faciat.
nam, mihi quam dederit duplex Amathusia curam,
scitis, et in quo me torruerit genere,
cum tantum arderem quantum Trinacria rupes
lymphaque in Oetaeis Malia Thermopylis,
maesta neque assiduo tabescere pupula fletu
cessaret tristique imbre madere genae.
qualis in aerei perlucens uertice montis
riuus muscoso prosilit e lapide,
qui cum de prona praeceps est ualle uolutus,
per medium densi transit iter populi,
dulce uiatori lasso in sudore leuamen,
cum grauis exustos aestus hiulcat agros:
hic, uelut in nigro iactatis turbine nautis
lenius aspirans aura secunda uenit,
iam prece Pollucis, iam Castoris imploratu,
tale fuit nobis Allius auxilium.
is clausum lato patefecit limite campum,
isque domum nobis isque dedit dominam,
ad quam communes exerceremus amores,
quo mea se molli candida diua pede
intulit et trito fulgentem in limine plantam
innixsa arguta constituit solea.
coniugis ut quondam flagrans aduenit amore
Protesilaeam Laudamia domum
inceptam frustra, nondum cum sanguine sacro
hostia caelestis pacificasset heros.
nil mihi tam ualde placeat, Ramnusia uirgo,
quod temere inuitis suscipiatur heris.
quam ieiuna pium desideret ara cruorem,
docta est amisso Laudamia uiro,
coniugis ante coacta noui dimittere collum,
quam ueniens una atque altera rursus hiems
noctibus in longis auidum saturasset amorem,
posset ut abrupto uiuere coniugio,
quod scibant Parcae non longo tempore abisse,
si miles muros isset ad Iliacos.
nam tum Helenae raptu primores Argiuorum
coeperat ad sese Troia ciere uiros,
Troia (nefas) commune sepulcrum Asiae Europaeque,
Troia uirum et uirtutum omnium acerba cinis
quaene etiam nostro letum miserabile fratri
attulit. ei misero frater adempte mihi,
ei misero fratri iucundum lumen ademptum,
tecum una tota est nostra sepulta domus,
omnia tecum una perierunt gaudia nostra,
quae tuus in uita dulcis alebat amor.
quem nunc tam longe non inter nota sepulcra
nec prope cognatos compositum cineris,
sed Troia obscena, Troia infelice sepultum
detinet extremo terra aliena solo:
ad quam tum properans fertur simul undique pubes
Graeca penetralis deseruisse focos,
ne Paris abducta gauisus libera moecha
otia pacato degeret in thalamo.
quo tibi tum casu, pulcerrima Laudamia,
ereptum est uita dulcius atque anima
coniugium: tanto te absorbens uertice amoris
aestus in abruptum detulerat barathrum,
quale ferunt Grai Pheneum prope Cylleneum
siccare emulsa pingue palude solum,
quod quondam caesis montis fodisse medullis
audit falsiparens Amphitryoniades,
tempore quo certa Stymphalia monstra sagitta
perculit imperio deterioris heri,
pluribus ut caeli tereretur ianua diuis,
Hebe nec longa uirginitate foret.
sed tuus altus amor barathro fuit altior illo,
qui tamen indomitam ferre iugum docuit.
nam neque tam carum confecto aetate parenti
una caput seri nata nepotis alit,
qui cum diuitiis uix tandem inuentus auitis
nomen testatas intulit in tabulas,
impia derisi gentilis gaudia tollens,
suscitat a cano uolturium capiti:
nec tantum niueo gauisa est ulla columbo
compar, quae multo dicitur improbius
oscula mordenti semper decerpere rostro,
quam cum praecipue multiuola est mulier.
sed tu horum magnos uicisti sola furores,
ut semel es flauo conciliata uiro.
aut nihil aut paulo cui tum concedere digna
lux mea se nostrum contulit in gremium,
quam circumcursans hinc illinc saepe Cupido
fulgebat crocina candidus in tunica.
quae tamen etsi uno non est contenta Catullo,
rara uerecundae furta feremus herae.
ne nimium simus stultorum more molesti,
saepe etiam Iuno, maxima caelicolum,
coniugis in culpa flagrantem contudit iram,
noscens omniuoli plurima facta Iouis.
nec tamen illa mihi dexstra depacta paterna
fraglantem Assyrio uenit odore domum,
sed furtiua dedit mira munuscula nocte,
ipsius ex ipso dempta uiri gremio.
quare illud satis est, si nobis is datur unis
quem lapide illa diem candidiore notat.
hoc tibi, quod potui, confectum carmine munus
pro multis, Alli, redditur officiis,
ne uestrum scabra tangat rubigine nomen
haec atque illa dies atque alia atque alia.
huc addent diui quam plurima, quae Themis olim
antiquis solita est munera ferre piis.
seitis felices et tu simul et tua uita,
et domus in qua olim lusimus et domina,
et qui principio nobis te tradidit Afer,
a quo sunt primo mi omnia nata bona,
et longe ante omnes mihi quae me carior ipso est,
lux mea, qua uiua uiuere dulce mihi est.
_100. At the Tomb of his Brother_
MVLTAS per gentis et multa per aequora uectus
aduenio has miseras, frater, ad inferias:
ut te postremo donarem munere mortis
et mutam nequiquam alloquerer cinerem.
quandoquidem fortuna mihi tete abstulit ipsum,
heu miser indigne frater adempte mihi,
nunc tamen interea haec prisco quae more parentum
tradita sunt tristi munere ad inferias,
accipe fraterno multum manantia fletu,
atque in perpetuum, frater, aue atque uale.
_101. To Calvus: on the Death of Quintilia_
SI quicquam mutis gratum acceptumue sepulcris
accidere a nostro, Calue, dolore potest,
quom desiderio ueteres renouamus amores
atque olim amissas flemus amicitias,
certe non tanto mors immatura dolorei'st
Quintiliae, quantum gaudet amore tuo.
_102. Nothing to do_
OTIVM, Catulle, tibi molestum est:
otio exsultas nimiumque gestis:
otium et reges prius et beatas
perdidit urbes.
_103. He craves Cornificius' Pity_
MALEST, Cornifici, tuo Catullo,
malest, me hercule, et est laboriose,
et magis magis in dies et horas.
quem tu, quod minimum facillimumque est,
qua solatus es allocutione?
irascor tibi. sic meos amores?
paulum quid lubet allocutionis,
maestius lacrimis Simonideis.
_104. To any Readers he may have_
SI qui forte mearum ineptiarum
lectores eritis manusque uestras
non horrebitis admouere nobis....
ANONYMOUS
_105. The Tombs of the Great_
MARMOREO Licinus tumulo iacet, at Cato nullo,
Pompeius paruo: credimus esse deos?
L. VARIVS
74-14 B.C.
_106. Fragments of the De Morte_
_i_
VENDIDIT hic Latium populis agrosque Quiritum
eripuit: fixit leges pretio atque refixit.
_ii_
Ceu canis umbrosam lustrans Gortynia uallem,
si celeris potuit ceruae comprendere lustra,
saeuit in absentem et circum uestigia latrans
aethera per nitidum tenues sectatur odores:
non amnes illam medii, non ardua tardant,
perdita nec serae meminit decedere nocti.
_107. Epilogue to the Vergilian Catalepton_
VATE Syracosio qui dulcior Hesiodoque
maior, Homereo non minor ore fuit,
illius haec quoque sunt diuini elementa poetae
et rudis in uario carmine Calliope.
C. CILNIVS MAECENAS
74-8 B.C.
_108._
_i_
_To Horace_
LVCENTES, mea uita, nec smaragdos,
beryllos neque, Flacce mi, nitentes
nec percandida margarita quaero
nec quos thunica lima perpoliuit
anulos neque iaspios lapillos.
_ii_
_Any Life is better than no life_
DEBILEM facito manu, debilem pede, coxa,
tuber adstrue gibberum, lubricos quate dentis:
vita dum superest, bene est.
P. VERGILIVS MARO
70-19 B.C.
_109. 'Is this the Man that made the Earth to tremble'_
ASPICE quem ualido subnixum Gloria regno
altius et caeli sedibus extulerat.
terrarum hic bello magnum concusserat orbem,
hic reges Asiae fregerat, hic populos,
hic graue seruitium tibi iam, tibi, Roma ferebat
(cetera namque uiri cuspide conciderant),
cum subito in medio rerum certamine praeceps
corruit, ex patria pulsus in exilium.
tale deae numen, tali mortalia nutu
fallax momento temporis hora dedit.
_110. 'Hence, all ye vain Delights'_
ITE hinc, inanes, ite rhetorum ampullae,
inflata rore non Achaico uerba,
et uos, Selique Tarquitique Varroque,
scholasticorum natio madens pingui,
ite hinc, inane cymbalon iuuentutis;
tuque, o mearum cura, Sexte, curarum,
uale, Sabine; iam ualete, formosi.
nos ad beatos uela mittimus portus
magni petentes docta dicta Sironis
uitamque ab omni uindicabimus cura.
ite hinc, Camenae; uos quoque, ite iam sane,
dulces Camenae (nam fatebimur uerum,
dulces fuistis): et tamen meas chartas
reuisitote, sed pudenter et raro.
_111. 'Unto you a child is born'_
SICELIDES Musae, paulo maiora canamus!
non omnis arbusta iuuant humilesque myricae;
si canimus siluas, siluae sint consule dignae.
Vltima Cumaei uenit iam carminis aetas;
magnus ab integro saeclorum nascitur ordo.
iam redit et uirgo, redeunt Saturnia regna,
iam noua progenies caelo demittitur alto.
tu modo nascenti puero, quo ferrea primum
desinet ac toto surget gens aurea mundo,
casta faue Lucina: tuus iam regnat Apollo.
teque adeo decus hoc aeui, te consule, inibit,
Pollio, et incipient magni procedere menses;
te duce, si qua manent sceleris uestigia nostri,
inrita perpetua soluent formidine terras.
ille deum uitam accipiet diuisque uidebit
permixtos heroas et ipse uidebitur illis,
pacatumque reget patriis uirtutibus orbem.
At tibi prima, puer, nullo munuscula cultu
errantis hederas passim cum baccare tellus
mixtaque ridenti colocasia fundet acantho.
ipsae lacte domum referent distenta capellae
ubera, nec magnos metuent armenta leones;
ipsa tibi blandos fundent cunabula flores.
occidet et serpens, et fallax herba ueneni
occidet; Assyrium uulgo nascetur amomum.
at simul heroum laudes et facta parentis
iam legere et quae sit poteris cognoscere uirtus,
molli paulatim flauescet campus arista,
incultisque rubens pendebit sentibus uua
et durae quercus sudabunt roscida mella.
pauca tamen suberunt priscae uestigia fraudis,
quae temptare Thetin ratibus, quae cingere muris
oppida, quae iubeant telluri infindere sulcos.
alter erit tum Tiphys, et altera quae uehat Argo
delectos heroas; erunt etiam altera bella,
atque iterum ad Troiam magnus mittetur Achilles.
hinc, ubi iam firmata uirum te fecerit aetas,
cedet et ipse mari uector, nec nautica pinus
mutabit merces: omnis feret omnia tellus.
non rastros patietur humus, non uinea falcem;
robustus quoque iam tauris iuga soluet arator;
nec uarios discet mentiri lana colores,
ipse sed in pratis aries iam suaue rubenti
murice, iam croceo mutabit uellera luto;
sponte sua sandyx pascentis uestiet agnos.
Talia saecla, suis dixerunt, currite, fusis
concordes stabili fatorum numine Parcae.
adgredere o magnos (aderit iam tempus) honores,
cara deum suboles, magnum Iouis incrementum!
aspice conuexo nutantem pondere mundum,
terrasque tractusque maris caelumque profundum:
aspice uenturo laetentur ut omnia saeclo!
o mihi tum longae maneat pars ultima uitae,
spiritus et quantum sat erit tua dicere facta:
non me carminibus uincet nec Thracius Orpheus,
nec Linus, huic mater quamuis atque huic pater adsit,
Orphei Calliopea, Lino formosus Apollo.
Pan etiam, Arcadia mecum si iudice certet,
Pan etiam Arcadia dicat se iudice uictum.
incipe, parue puer, risu cognoscere matrem
(matri longa decem tulerunt fastidia menses)
incipe, parue puer: qui non risere parenti,
nec deus hunc mensa, dea nec dignata cubili est.
_112. Pharmaceutria_
PASTORVM Musam Damonis et Alphesiboei,
immemor herbarum quos est mirata iuuenca
certantis, quorum stupefactae carmine lynces,
et mutata suos requierunt flumina cursus,
Damonis Musam dicemus et Alphesiboei.
Tu mihi seu magni superas iam saxa Timaui,
siue oram Illyrici legis aequoris,--en erit umquam
ille dies, mihi cum liceat tua dicere facta?
en erit ut liceat totum mihi ferre per orbem
sola Sophocleo tua carmina digna coturno?
a te principium, tibi desinam: accipe iussis
carmina coepta tuis, atque hanc sine tempora circum
inter uictricis hederam tibi serpere lauros.
Frigida uix caelo noctis decesserat umbra,
cum ros in tenera pecori gratissimus herba:
incumbens tereti Damon sic coepit oliuae.
Nascere praeque diem ueniens age, Lucifer, almum,
coniugis indigno Nysae deceptus amore
dum queror et diuos, quamquam nil testibus illis
profeci, extrema moriens tamen adloquor hora.
incipe Maenalios mecum, mea tibia, uersus.
Maenalus argutumque nemus pinusque loquentis
semper habet, semper pastorum ille audit amores
Panaque, qui primus calamos non passus inertis.
incipe Maenalios mecum, mea tibia, uersus.
Mopso Nysa datur: quid non speremus amantes?
iungentur iam grypes equis, aeuoque sequenti
cum canibus timidi uenient ad pocula dammae.
incipe Maenalios mecum, mea tibia, uersus.
Mopse, nouas incide faces: tibi ducitur uxor.
sparge, marite, nuces: tibi deserit Hesperus Oetam.
incipe Maenalios mecum, mea tibia, uersus.
o digno coniuncta uiro, dum despicis omnis,
dumque tibi est odio mea fistula, dumque capellae
hirsutumque supercilium promissaque barba,
nec curare deum credis mortalia quemquam--
incipe Maenalios mecum, mea tibia, uersus--
saepibus in nostris paruam te roscida mala
(dux ego uester eram) uidi cum matre legentem.
alter ab undecimo tum me iam acceperat annus,
iam fragilis poteram a terra contingere ramos:
ut uidi, ut perii, ut me malus abstulit error!
incipe Maenalios mecum, mea tibia, uersus.
nunc scio quid sit Amor: duris in cotibus illum
aut Tmaros aut Rhodope aut extremi Garamantes
nec generis nostri puerum nec sanguinis edunt.
incipe Maenalios mecum, mea tibia, uersus.
saeuus Amor docuit natorum sanguine matrem
commaculare manus; crudelis tu quoque, mater:
crudelis mater magis, an puer improbus ille?
improbus ille puer; crudelis tu quoque, mater.
incipe Maenalios mecum, mea tibia, uersus.
nunc et ouis ultro fugiat lupus, aurea durae
mala ferant quercus, narcisso floreat alnus,
pinguia corticibus sudent electra myricae,
certent et cycnis ululae, sit Tityrus Orpheus,
Orpheus in siluis, inter delphinas Arion--
incipe Maenalios mecum, mea tibia, uersus--
omnia uel medium fiat mare. uiuite siluae:
praeceps aërii specula de montis in undas
deferar; extremum hoc munus morientis habeto.
desine Maenalios, iam desine, tibia, uersus.
Haec Damon: uos, quae responderit Alphesiboeus,
dicite, Pierides; non omnia possumus omnes.
Effer aquam et molli cinge haec altaria uitta,
uerbenasque adole pinguis et mascula tura,
coniugis ut magicis sanos auertere sacris
experiar sensus; nihil hic nisi carmina desunt.
ducite ab urbe domum, mea carmina, ducite Daphnin.
carmina uel caelo possunt deducere Lunam,
carminibus Circe socios mutauit Vlixi,
frigidus in pratis cantando rumpitur anguis.
ducite ab urbe domum, mea carmina, ducite Daphnin.
terna tibi haec primum triplici diuersa colore
licia circumdo, terque haec altaria circum
effigiem duco; numero deus impare gaudet.
ducite ab urbe domum, mea carmina, ducite Daphnin.
necte tribus nodis ternos, Amarylli, colores;
necte, Amarylli, modo et 'Veneris', dic, 'uincula necto.'
ducite ab urbe domum, mea carmina, ducite Daphnin.
limus ut hic durescit, et haec ut cera liquescit
uno eodemque igni, sic nostro Daphnis amore.
sparge molam et fragilis incende bitumine lauros.
Daphnis me malus urit, ego hanc in Daphnide laurum.
ducite ab urbe domum, mea carmina, ducite Daphnin.
talis amor Daphnin qualis cum fessa iuuencum
per nemora atque altos quaerendo bucula lucos
propter aquae riuum uiridi procumbit in ulua
perdita, nec serae meminit decedere nocti,
talis amor teneat, nec sit mihi cura mederi.
ducite ab urbe domum, mea carmina, ducite Daphnin.
has olim exuuias mihi perfidus ille reliquit,
pignora cara sui: quae nunc ego limine in ipso,
terra, tibi mando; debent haec pignora Daphnin.
ducite ab urbe domum, mea carmina, ducite Daphnin.
has herbas atque haec Ponto mihi lecta uenena
ipse dedit Moeris (nascuntur plurima Ponto);
his ego saepe lupum fieri et se condere siluis
Moerin, saepe animas imis excire sepulcris,
atque satas alio uidi traducere messis.
ducite ab urbe domum, mea carmina, ducite Daphnin.
fer cineres, Amarylli, foras riuoque fluenti
transque caput iace, nec respexeris. his ego Daphnin
adgrediar; nihil ille deos, nil carmina curat.
ducite ab urbe domum, mea carmina, ducite Daphnin.
aspice: corripuit tremulis altaria flammis
sponte sua, dum ferre moror, cinis ipse. bonum sit!
nescio quid certe est, et Hylax in limine latrat.
credimus? an, qui amant, ipsi sibi somnia fingunt?
parcite, ab urbe uenit, iam parcite carmina, Daphnis.
_113. 'In the sweat of thy face shalt thou eat bread'_
PATER ipse colendi
haud facilem esse uiam uoluit, primusque per artem
mouit agros curis acuens mortalia corda,
nec torpere graui passus sua regna ueterno.
ante Iouem nulli subigebant arua coloni;
ne signare quidem aut partiri limite campum
fas erat: in medium quaerebant, ipsaque tellus
omnia liberius nullo poscente ferebat.
ille malum uirus serpentibus addidit atris,
praedarique lupos iussit pontumque moueri,
mellaque decussit foliis ignemque remouit,
et passim riuis currentia uina repressit,
ut uarias usus meditando extunderet artis
paulatim, et sulcis frumenti quaereret herbam,
ut silicis uenis abstrusum excuderet ignem.
tunc alnos primum fluuii sensere cauatas;
nauita tum stellis numeros et nomina fecit
Pleiadas, Hyadas, claramque Lycaonis Arcton;
tum laqueis captare feras et fallere uisco
inuentum et magnos canibus circumdare saltus;
atque alius latum funda iam uerberat amnem
alta petens, pelagoque alius trahit umida lina;
tum ferri rigor atque argutae lammina serrae
(nam primi cuneis scindebant fissile lignum),
tum uariae uenere artes. labor omnia uicit
improbus et duris urgens in rebus egestas.
prima Ceres ferro mortalis uertere terram
instituit, cum iam glandes atque arbuta sacrae
deficerent siluae et uictum Dodona negaret.
mox et frumentis labor additus, ut mala culmos
esset robigo segnisque horreret in aruis
carduus; intereunt segetes, subit aspera silua,
lappaeque tribolique, interque nitentia culta
infelix lolium et steriles dominantur auenae.
quod nisi et adsiduis herbam insectabere rastris
et sonitu terrebis auis et ruris opaci
falce premes umbras uotisque uocaueris imbrem,
heu magnum alterius frustra spectabis aceruum,
concussaque famem in siluis solabere quercu.
_114. Solem quis dicere falsum audeat?_
SI uero solem ad rapidum lunasque sequentis
ordine respicies, numquam te crastina fallet
hora, neque insidiis noctis capiere serenae.
luna reuertentis cum primum colligit ignis,
si nigrum obscuro comprenderit aëra cornu,
maximus agricolis pelagoque parabitur imber;
at si uirgineum suffuderit ore ruborem,
uentus erit; uento semper rubet aurea Phoebe.
sin ortu quarto (namque is certissimus auctor)
pura neque obtunsis per caelum cornibus ibit,
totus et ille dies et qui nascentur ab illo
exactum ad mensem pluuia uentisque carebunt,
uotaque seruati soluent in litore nautae
Glauco et Panopeae et Inoo Melicertae.
sol quoque et exoriens et cum se condet in undas
signa dabit; solem certissima signa sequuntur,
et quae mane refert et quae surgentibus astris.
ille ubi nascentem maculis uariauerit ortum
conditus in nubem medioque refugerit orbe,
suspecti tibi sint imbres: namque urget ab alto
arboribusque satisque Notus pecorique sinister.
aut ubi sub lucem densa inter nubila sese
diuersi rumpent radii, aut ubi pallida surget
Tithoni croceum linquens Aurora cubile,
heu, male tum mitis defendet pampinus uuas;
tam multa in tectis crepitans salit horrida grando.
hoc etiam, emenso cum iam decedit Olympo,
profuerit meminisse magis; nam saepe uidemus
ipsius in uultu uarios errare colores:
caeruleus pluuiam denuntiat, igneus Euros;
sin maculae incipient rutilo immiscerier igni,
omnia tum pariter uento nimbisque uidebis
feruere. non illa quisquam me nocte per altum
ire neque ab terra moneat conuellere funem.
at si, cum referetque diem condetque relatum,
lucidus orbis erit, frustra terrebere nimbis
et claro siluas cernes Aquilone moueri.
denique, quid uesper serus uehat, unde serenas
uentus agat nubes, quid cogitet umidus Auster,
sol tibi signa dabit. solem quis dicere falsum
audeat? ille etiam caecos instare tumultus
saepe monet fraudemque et operta tumescere bella.
ille etiam exstincto miseratus Caesare Romam,
cum caput obscura nitidum ferrugine texit
impiaque aeternam timuerunt saecula noctem.
tempore quamquam illo tellus quoque et aequora ponti,
obscenaeque canes importunaeque uolucres
signa dabant. quotiens Cyclopum efferuere in agros
uidimus undantem ruptis fornacibus Aetnam,
flammarumque globos liquefactaque uoluere saxa!
armorum sonitum toto Germania caelo
audiit, insolitis tremuerunt motibus Alpes.
uox quoque per lucos uulgo exaudita silentis
ingens, et simulacra modis pallentia miris
uisa sub obscurum noctis, pecudesque locutae
(infandum!); sistunt amnes terraeque dehiscunt,
et maestum inlacrimat templis ebur aeraque sudant.
proluit insano contorquens uertice siluas
fluuiorum rex Eridanus camposque per omnis
cum stabulis armenta tulit. nec tempore eodem
tristibus aut extis fibrae apparere minaces
aut puteis manare cruor cessauit, et altae
per noctem resonare lupis ululantibus urbes.
non alias caelo ceciderunt plura sereno
fulgura nec diri totiens arsere cometae.
ergo inter sese paribus concurrere telis
Romanas acies iterum uidere Philippi;
nec fuit indignum superis bis sanguine nostro
Emathiam et latos Haemi pinguescere campos.
scilicet et tempus ueniet cum finibus illis
agricola incuruo terram molitus aratro
exesa inueniet scabra robigine pila,
aut grauibus rastris galeas pulsabit inanis,
grandiaque effossis mirabitur ossa sepulcris.
di patrii, Indigetes, et Romule Vestaque mater,
quae Tuscum Tiberim et Romana Palatia seruas,
hunc saltem euerso iuuenem succurrere saeclo
ne prohibete. satis iam pridem sanguine nostro
Laomedonteae luimus periuria Troiae.
iam pridem nobis caeli te regia, Caesar,
inuidet atque hominum queritur curare triumphos,
quippe ubi fas uersum atque nefas; tot bella per orbem,
tam multae scelerum facies, non ullus aratro
dignus honos, squalent abductis arua colonis,
et curuae rigidum falces conflantur in ensem.
hinc mouet Euphrates, illinc Germania bellum;
uicinae ruptis inter se legibus urbes
arma ferunt; saeuit toto Mars impius orbe;
ut cum carceribus sese effudere quadrigae,
addunt in spatio, et frustra retinacula tendens
fertur equis auriga neque audit currus habenas.
_115. Italia, io te saluto_
SED neque Medorum siluae, ditissima terra,
nec pulcher Ganges atque auro turbidus Hermus
laudibus Italiae certent, non Bactra neque Indi
totaque turiferis Panchaia pinguis harenis.
haec loca non tauri spirantes naribus ignem
inuertere satis immanis dentibus hydri,
nec galeis densisque uirum seges horruit hastis;
sed grauidae fruges et Bacchi Massicus umor
impleuere; tenent oleae armentaque laeta.
hinc bellator equus campo sese arduus infert,
hinc albi, Clitumne, greges et maxima taurus
uictima, saepe tuo perfusi flumine sacro,
Romanos ad templa deum duxere triumphos.
hic uer adsiduum atque alienis mensibus aestas:
bis grauidae pecudes, bis pomis utilis arbos.
at rabidae tigres absunt et saeua leonum
semina, nec miseros fallunt aconita legentis,
nec rapit immensos orbis per humum neque tanto
squameus in spiram tractu se colligit anguis.
adde tot egregias urbes operumque laborem,
tot congesta manu praeruptis oppida saxis
fluminaque antiquos subterlabentia muros.
an mare quod supra memorem, quodque adluit infra?
anne lacus tantos? te, Lari maxime, teque,
fluctibus et fremitu adsurgens, Benace, marino?
an memorem portus Lucrinoque addita claustra
atque indignatum magnis stridoribus aequor,
Iulia qua ponto longe sonat unda refuso
Tyrrhenusque fretis immittitur aestus Auernis?
haec eadem argenti riuos aerisque metalla
ostendit uenis atque auro plurima fluxit.
haec genus acre uirum, Marsos pubemque Sabellam
adsuetumque malo Ligurem Volscosque uerutos
extulit, haec Decios Fabios magnosque Camillos,
Scipiadas duros bello et te, maxime Caesar,
qui nunc extremis Asiae iam uictor in oris
imbellem auertis Romanis arcibus Indum.
salue, magna parens frugum, Saturnia tellus,
magna uirum: tibi res antiquae laudis et artis
ingredior sanctos ausus recludere fontis,
Ascraeumque cano Romana per oppida carmen.
_116. 'God made the country but man made the town'_
O FORTVNATOS nimium, sua si bona norint,
agricolas! quibus ipsa procul discordibus armis
fundit humo facilem uictum iustissima tellus;
si non ingentem foribus domus alta superbis
mane salutantum totis uomit aedibus undam,
nec uarios inhiant pulchra testudine postis
inlusasque auro uestis Ephyreiaque aera,
alba neque Assyrio fucatur lana ueneno,
nec casia liquidi corrumpitur usus oliui;
at secura quies et nescia fallere uita,
diues opum uariarum, at latis otia fundis
speluncae uiuique lacus, at frigida Tempe
mugitusque boum mollesque sub arbore somni
non absunt; illic saltus ac lustra ferarum,
et patiens operum exiguoque adsueta iuuentus,
sacra deum, sanctique patres; extrema per illos
Iustitia excedens terris uestigia fecit.
Me uero primum dulces ante omnia Musae,
quarum sacra fero ingenti percussus amore,
accipiant caelique uias et sidera monstrent,
defectus solis uarios lunaeque labores;
unde tremor terris, qua ui maria alta tumescant
obicibus ruptis rursusque in se ipsa residant,
quid tantum Oceano properent se tingere soles
hiberni, uel quae tardis mora noctibus obstet.
sin, has ne possim naturae accedere partis,
frigidus obstiterit circum praecordia sanguis,
rura mihi et rigui placeant in uallibus amnes,
flumina amem siluasque inglorius. o ubi campi
Spercheusque et uirginibus bacchata Lacaenis
Taygeta! o qui me gelidis conuallibus Haemi
sistat, et ingenti ramorum protegat umbra!
felix qui potuit rerum cognoscere causas,
atque metus omnis et inexorabile fatum
subiecit pedibus strepitumque Acherontis auari.
fortunatus et ille deos qui nouit agrestis
Panaque Siluanumque senem Nymphasque sorores.
illum non populi fasces, non purpura regum
flexit et infidos agitans discordia fratres,
aut coniurato descendens Dacus ab Histro,
non res Romanae perituraque regna; neque ille
aut doluit miserans inopem aut inuidit habenti.
quos rami fructus, quos ipsa uolentia rura
sponte tulere sua, carpsit, nec ferrea iura
insanumque forum aut populi tabularia uidit.
sollicitant alii remis freta caeca, ruuntque
in ferrum, penetrant aulas et limina regum;
hic petit excidiis urbem miserosque penatis,
ut gemma bibat et Sarrano dormiat ostro;
condit opes alius defossoque incubat auro;
hic stupet attonitus rostris, hunc plausus hiantem
per cuneos geminatus enim plebisque patrumque
corripuit; gaudent perfusi sanguine fratrum,
exsilioque domos et dulcia limina mutant
atque alio patriam quaerunt sub sole iacentem.
agricola incuruo terram dimouit aratro:
hinc anni labor, hinc patriam paruosque nepotes
sustinet, hinc armenta boum meritosque iuuencos.
nec requies, quin aut pomis exuberet annus
aut fetu pecorum aut Cerealis mergite culmi,
prouentuque oneret sulcos atque horrea uincat.
uenit hiems: teritur Sicyonia baca trapetis,
glande sues laeti redeunt, dant arbuta siluae;
et uarios ponit fetus autumnus, et alte
mitis in apricis coquitur uindemia saxis.
interea dulces pendent circum oscula nati,
casta pudicitiam seruat domus, ubera uaccae
lactea demittunt, pinguesque in gramine laeto
inter se aduersis luctantur cornibus haedi.
ipse dies agitat festos fususque per herbam,
ignis ubi in medio et socii cratera coronant,
te libans, Lenaee, uocat pecorisque magistris
uelocis iaculi certamina ponit in ulmo,
corporaque agresti nudant praedura palaestra.
hanc olim ueteres uitam coluere Sabini,
hanc Remus et frater, sic fortis Etruria creuit
scilicet et rerum facta est pulcherrima Roma,
septemque una sibi muro circumdedit arces.
ante etiam sceptrum Dictaei regis et ante
impia quam caesis gens est epulata iuuencis,
aureus hanc uitam in terris Saturnus agebat;
necdum etiam audierant inflari classica, necdum
impositos duris crepitare incudibus ensis.
_117. Exordium_
TE quoque, magna Pales, et te memorande canemus
pastor ab Amphryso, uos, siluae amnesque Lycaei.
cetera, quae uacuas tenuissent carmine mentes,
omnia iam uulgata: quis aut Eurysthea durum,
aut inlaudati nescit Busiridis aras?
cui non dictus Hylas puer et Latonia Delos
Hippodameque umeroque Pelops insignis eburno,
acer equis? temptanda uia est, qua me quoque possim
tollere humo uictorque uirum uolitare per ora.
primus ego in patriam mecum, modo uita supersit,
Aonio rediens deducam uertice Musas;
primus Idumaeas referam tibi, Mantua, palmas,
et uiridi in campo templum de marmore ponam
propter aquam, tardis ingens ubi flexibus errat
Mincius et tenera praetexit harundine ripas.
in medio mihi Caesar erit templumque tenebit:
illi uictor ego et Tyrio conspectus in ostro
centum quadriiugos agitabo ad flumina currus.
cuncta mihi Alpheum linquens lucosque Molorchi
cursibus et crudo decernet Graecia caestu.
ipse caput tonsae foliis ornatus oliuae
dona feram. iam nunc sollemnis ducere pompas
ad delubra iuuat caesosque uidere iuuencos,
uel scaena ut uersis discedat frontibus utque
purpurea intexti tollant aulaea Britanni.
in foribus pugnam ex auro solidoque elephanto
Gangaridum faciam uictorisque arma Quirini,
atque hic undantem bello magnumque fluentem
Nilum ac nauali surgentis aere columnas.
addam urbes Asiae domitas pulsumque Niphaten
fidentemque fuga Parthum uersisque sagittis,
et duo rapta manu diuerso ex hoste tropaea
bisque triumphatas utroque ab litore gentis.
stabunt et Parii lapides, spirantia signa,
Assaraci proles demissaeque ab Ioue gentis
nomina, Trosque parens et Troiae Cynthius auctor.
Inuidia infelix furias amnemque seuerum
Cocyti metuet tortosque Ixionis anguis
immanemque rotam et non exsuperabile saxum.
interea Dryadum siluas saltusque sequamur
intactos, tua, Maecenas, haud mollia iussa.
te sine nil altum mens incohat: en age segnis
rumpe moras; uocat ingenti clamore Cithaeron,
Taygetique canes domitrixque Epidaurus equorum,
et uox adsensu nemorum ingeminata remugit.
mox tamen ardentis accingar dicere pugnas
Caesaris et nomen fama tot ferre per annos
Tithoni prima quot abest ab origine Caesar.
_118. Orpheus and Eurydice_
AT chorus aequalis Dryadum clamore supremos
implerunt montis; flerunt Rhodopeiae arces
altaque Pangaea et Rhesi Mauortia tellus
atque Getae atque Hebrus et Actias Orithyia.
ipse caua solans aegrum testudine amorem
te, dulcis coniunx, te solo in litore secum,
te ueniente die, te decedente canebat.
Taenarias etiam fauces, alta ostia Ditis,
et caligantem nigra formidine lucum
ingressus, manisque adiit regemque tremendum
nesciaque humanis precibus mansuescere corda.
at cantu commotae Erebi de sedibus imis
umbrae ibant tenues simulacraque luce carentum,
quam multa in foliis auium se milia condunt,
uesper ubi aut hibernus agit de montibus imber,
matres atque uiri defunctaque corpora uita
magnanimum heroum, pueri innuptaeque puellae,
impositique rogis iuuenes ante ora parentum,
quos circum limus niger et deformis harundo
Cocyti tardaque palus inamabilis unda
alligat et nouies Styx interfusa coercet.
quin ipsae stupuere domus atque intima Leti
Tartara caeruleosque implexae crinibus anguis
Eumenides, tenuitque inhians tria Cerberus ora,
atque Ixionii uento rota constitit orbis.
iamque pedem referens casus euaserat omnis,
redditaque Eurydice superas ueniebat ad auras
pone sequens (namque hanc dederat Proserpina legem),
cum subita incautum dementia cepit amantem,
ignoscenda quidem, scirent si ignoscere manes:
restitit, Eurydicenque suam iam luce sub ipsa
immemor heu! uictusque animi respexit. ibi omnis
effusus labor atque immitis rupta tyranni
foedera, terque fragor stagnis auditus Auerni.
illa, 'quis et me,' inquit, 'miseram et te perdidit, Orpheu,
quis tantus furor? en iterum crudelia retro
fata uocant conditque natantia lumina somnus.
iamque uale: feror ingenti circumdata nocte
inualidasque tibi tendens, heu non tua, palmas.'
dixit et ex oculis subito, ceu fumus in auras
commixtus tenuis, fugit diuersa, neque illum
prensantem nequiquam umbras et multa uolentem
dicere praeterea uidit; nec portitor Orci
amplius obiectam passus transire paludem.
quid faceret? quo se rapta bis coniuge ferret?
quo fletu manis, quae numina uoce moueret?
illa quidem Stygia nabat iam frigida cumba.
septem illum totos perhibent ex ordine mensis
rupe sub aëria deserti ad Strymonis undam
flesse sibi, et gelidis haec euoluisse sub astris,
mulcentem tigris et agentem carmine quercus;
qualis populea maerens philomela sub umbra
amissos queritur fetus, quos durus arator
obseruans nido implumis detraxit; at illa
flet noctem, ramoque sedens miserabile carmen
integrat, et maestis late loca questibus implet.
nulla Venus, non ulli animum flexere hymenaei:
solus Hyperboreas glacies Tanaimque niualem
aruaque Riphaeis numquam uiduata pruinis
lustrabat, raptam Eurydicen atque inrita Ditis
dona querens: spretae Ciconum quo munere matres
inter sacra deum nocturnique orgia Bacchi
discerptum latos iuuenem sparsere per agros.
tum quoque marmorea caput a ceruice reuulsum
gurgite cum medio portans Oeagrius Hebrus
uolueret, Eurydicen uox ipsa et frigida lingua,
a miseram Eurydicen! anima fugiente uocabat;
Eurydicen toto referebant flumine ripae.'
_119. The Aeneid_
_a_
_To Venus, to prosper his Aeneid_
SI mihi susceptum fuerit decurrere munus,
O Paphon, o sedes quae colis Idalias,
Troius Aeneas Romana per oppida digno
iam tandem ut tecum carmine uectus eat:
non ego ture modo aut picta tua templa tabella
ornabo et puris serta feram manibus--
corniger hos aries humilis et maxima taurus
uictima sacrato sparget honore focos:
marmoreusque tibi, tibi mille coloribus ales
in morem picta stabit Amor pharetra.
adsis o Cytherea: tuos te Caesar Olympo
et Surrentini litoris ara uocat.
_b_
_A Cancelled Proem to the Aeneid_
ILLE ego qui quondam gracili modulatus auena
carmen, et egressus siluis uicina coegi
ut quamuis auido parerent arua colono,
gratum opus agricolis: at nunc horrentia Martis.
Q. HORATIVS FLACCVS
65-8 B.C.
_120. Romanae fidicen lyrae_
QVEM tu, Melpomene, semel
nascentem placido lumine uideris,
illum non labor Isthmius
clarabit pugilem, non equos inpiger
curru ducet Achaico
uictorem, neque res bellica Deliis
ornatum foliis ducem,
quod regum tumidas contuderit minas,
ostendet Capitolio:
sed quae Tibur aquae fertile praefluunt,
et spissae nemorum comae
fingent Aeolio carmine nobilem.
Romae principis urbium
dignatur suboles inter amabilis
uatum ponere me choros,
et iam dente minus mordeor inuido.
o testudinis aureae
dulcem quae strepitum, Pieri, temperas,
o mutis quoque piscibus
donatura cycni, si libeat, sonum,
totum muneris hoc tui est,
quod monstror digito praterenuntium
Romanae fidicen lyrae:
quod spiro et placeo, si placeo, tuom est.
_121. Song Makes Immortal_
NE forte credas interitura quae
longe sonantem natus ad Aufidum
non ante uolgatas per artis
uerba loquor socianda chordis:
non, si priores Maeonius tenet
sedes Homerus, Pindaricae latent
Ceaeque et Alcaei minaces
Stesichoriue graues Camenae:
nec siquid olim lusit Anacreon
deleuit aetas; spirat adhuc amor
uiuuntque conmissi calores
Aeoliae fidibus puellae.
non sola comptos arsit adulteri
crinis et aurum uestibus illitum
mirata regalisque cultus
et comites Helene Lacaena,
primusue Teucer tela Cydonio
direxit arcu; non semel Ilios
uexata; non pugnauit ingens
Idomeneus Sthenelusue solus
dicenda Musis proelia; non ferox
Hector uel acer Deiphobus grauis
excepit ictus pro pudicis
coniugibus puerisque primus.
uixere fortes ante Agamemnona
multi; sed omnes inlacrimabiles
urgentur ignotique longa
nocte, carent quia uate sacro.
paulum sepultae distat inertiae
celata uirtus--non ego te meis
chartis inornatum sileri
totue tuos patiar labores
impune, Lolli, carpere liuidas
obliuiones. est animus tibi
rerumque prudens et secundis
temporibus dubiisque rectus,
uindex auarae fraudis et abstinens
ducentis ad se cuncta pecuniae,
consulque non unius anni,
sed quotiens bonus atque fidus
iudex honestum praetulit utili,
reiecit alto dona nocentium
uoltu, per obstantis cateruas
explicuit sua uictor arma.
non possidentem multa u
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