[57] _E.g. laborum decepitur_, Od. II. xiii. 38. The reader will find them all in Macleane's _Horace_.

[58] The most extraordinary instance of this is Od. IV. iv. 17, where in the very midst of an exalted pa.s.sage, he drags in the following most inappropriate digression--_Quibus Mos unde deductus per omne Tempus Amazonia securi Dextras obarmet quaerere distuli, Nec scire fas est omnia._ Many critics, intolerant of the blot, remove it altogether, disregarding MS. authority.

[59] _Ego apis Matinae more modoque_ ... operosa _parvus carmina fingo_, Od. IV. ii. 31.

[60] Od. IV. iv. 33.

[61] Od. III. iii. 17.

[62] Od. III. xxviii.

[63] Od. III. xi.

[64] Od. III. ix.

[65] _I.e._ the hall where rhetorical exhibitions were given.

[66] _Nisi quod pede certo differt sermoni, sermo merus_, S. I. iv. So the t.i.tle _sermones_.

[67] We learn this from the life by Suetonius.

[68] _E.g. invideor, imperor, se impediat_ (S. I. x. 10) = impediatur; _amphora coepit inst.i.tui_ for _coepta est_. Others might easily be collected.

[69] S. I. iv. 10; S. II. i. in great part.

[70] S. L. iv 60, _Postquam Discordia tetra Belli ferratos postes portasque refregit_. These are also imitated by Virgil; but they do not appear to show any particular beauty.

[71] S. I. v. 101; Ep. I. iv. 16.

[72] _Neque simius iste Nil praeter Calvum et doctus cantare Catullum_ (S.

I. x. 19). I cannot agree with Mr. Martin (_Horace for English Readers_.

p. 57), who thinks the allusion not meant to be umcomplimentary.

[73] _Parios iambos_ has been ingeniously explained to mean the epode, _i.e._ the iambic followed by a shorter line in the same or a different rhythm, _e.g. pater Lukamba poion ephraso tode; ti sas paraeeire phrenas_; but it seems more natural to give _Parios_ the ordinary sense. Cf.

_Archilochum proprio rabies armavit iambo_, A. P. 79.

[74] Ep. I. xix. 24.

[75] S. i. 118, _Omne vafer vitium ridenti Flaccus amico Tangit, et admissus circ.u.m praecordia ludit, Callidus excusso populum suspendere naso_.

[76] Tib. IV. i. 179, _Est tibi qui possit magnis se accingere rebus Valgius: aeterno propior non alter Homero_.

[77] Od. II. ix. 19.

[78] Quint. III. i. 18. Unger, quoted by Teuffel, -- 236, conjectures that for _Nicandrum frustra secuti Macer atque_ Virgilius, we should read _Valgius_, in Quint. X. i. 56.

[79] Sat. I. ix. 61.

[80] _Arguta meretrice potes Davoque Chremeque Eludente senem comis garrire libellas Unus vivorum, Fundani_. After all, this praise is equivocal.

[81] _Pindarici fontis qui non expalluit haustus.... An tragica desaevit et ampullatur in arte?_ Ep. I. iii. 10.

[82] Ep. I. viii. 2.

[83] Ep. I. iii. 15.

[84] Od. IV. ii. 2.

[85] Od. iv. ii. 2, quoted by Teuffel.

[86] Od. I. x.x.xiii.; Ep. I. iv.

CHAPTER IV.

[1] _E.g._ In the first 100 lines of the _Remedium Amoris_, a long continuous treatise, there is only one couplet where the syntax is carried continuously through, v. 57, 8, _Nec moriens Dido summa vidisset ab arce Dardanias vento vela dedisse rates_, and even here the pentameter forms a clause by itself. Contrast the treatment of Catullus (lxvi. 104-115) where the sense, rhythm, and syntax are connected together for twelve lines. The same applies to the opening verses of Virgil's _Copa_. Tate's little treatise on the elegiac couplet correctly a.n.a.lyses the formal side of Ovid's versification. As instances of the relation, of the elegiac to the hexameter--iteration (Her. xiii. 167), _Aucupor in lecto mendaces caelibe somnos; Dum careo veris gaudia falsa iuvant_: variation (Her. xiv. 5), _Quod ma.n.u.s extimuit iugulo demittere ferrum Sum rea: laudarer si scelus ausa forem_: expansion (id. 1), _Mitt.i.t Hypermnestra de tot modo fratribus una: Cetera nuptarum crimine turba iacet_: condensation (Her. xiii. 1), _Mitt.i.t et optat amans quo mitt.i.tur ire salutem, Haemonis Haemonio Laodamia viro_: ant.i.thesis (Am. I. ix. 3), _Quae bello est habilis veneri quoque convenit aetas; Turpe senex miles turpe senilis amor_. These ill.u.s.trations might be indefinitely increased, and the a.n.a.lysis carried much further. But the student will pursue it with ease for himself.

Compare ch. ii. app. note 3.

[2] Ecl. x. 2.

[3] Two Greek Epigrams (Anthol. Gr. ii. p. 93) are a.s.signed to him by Jacobs (Teuffel).

[4] Quint. x. 1, 93.

[5] Mart. iv. 29, 7.

[6] Id. vii. 29, 8.

[7] v. 17, 18.

[8] Tr. II. x. 6.

[9] El. I. i. 19.

[10] Ep. I. iv. 7.

[11] _Prisca iuvent alios: ego me nunc denique natum Gratulor: haec aetas moribus apta meis_ (A. A. iii. 121). Ovid is unquestionably right.

[12] Od. I. x.x.xiii. 2.

[13] El. I. 7; II. 1. Tibullus turns from battle scenes with relief to the quiet joys of the country.

[14] Others read _Plautia_, but without cause.

[15] El. ii. 21.

[16] Ib. i. 57.

[17] Ib. ii. 1.