BOOKTEXT3

Ode 3 – Quem tu, Melpomene:-

A deceptively simple ode whose inclusion in a book of odes ostensibly dedicated to actual people is not readily apparent. It is addressed to Melpomene, who was known to be the muse of tragedy and tragic verse. Past commentators have understood the opening three stanzas to refer to Melpomene's presence at the birth of Horace himself and to assume it to mean that he, Horace, would not turn out to be a boxer, a horseman or a military genius. There seems to be no precedent for a muse to be present at the birth of someone destined to become a poet. In any case, as far as Horace was concerned, the muse of tragedy would have been most inappropriate! The last three stanzas is about Horace and his recent recognition as the foremost lyric poet in Rome. The two halves of the ode appear to be at odds with each other.

In Book IV, if Horace is indeed embarking on adulatory verse about distinguished contemporaries, as Fraenkel suggests, then Melpomene is hardly the muse to depend upon. If, as this book proposes, he is intent on lifting the lid on a society that is descending morally from the high peak of the Republican ethos, then this is the muse he must choose. He is, after all, according to his lights witnessing a tragedy in the making. That being so, the ode can be turned around. It is not Horace's birth that Melpomene is called upon to witness but the commencement of a book of verse on what is happening to Rome and about the people who are making it so. This would seem to be a good case for making this ode the opening ode of the whole book.

If any of the odes was meant to be a dedicatio to the whole book it is surely this one. Here we have the key to it all. Horace is changing from lyric poetry to tragic poetry. The voice of the swan is to be given over to the hitherto dumb creatures so that they may have their say. Whether these are the children of Rome to whom this ode is now seen to be dedicated so beautifully in the two final stanzas or to the ordinary citizens of Rome who have had to stand by while the city is taken over by the new men. Whichever, Horace is offering his services as their voice. Whatever follows is on their behalf and Melpomene, the muse of tragedy will oversee the task. Horace therefore does not promise adulatory verse; there are to be no heroes, no military accolades. It is going to be the bitter truth but written and disguised as Aeolian metre. The lyre that once sang so sweetly will now resound to a bitter note.

In translation, the word order is changed to to allow the dedication to apply to the children of Rome rather than the lyre. It is suggested that the ode was not specifically dedicated to the muse Melpomene whose sole mention in the ode is to indicate the change from lyric poetry to tragic verse. It is suggested instead that Horace regarded the children who performed the Centennial Hymn, the more deserving of praise.

This ode consists of six four line stanzas divided into two episodes of three stamzas each. The first episode addresses the current muse of Horace. The second episode is self congratulary.

TRANSLATION NOTE:

The Klingner text is shown at the head of each episode but shorn of editorial punctuation and addressed as though in a continuous UNCIALformat. However, word separators (*), line separators (**) and episode separators (***) are inserted for the sake of clarity. In the actual translation section, the Wickham/Garrod text is shown enclosed thus [...] and complete with punctuation but this latter is subvented when it proves necessary in achieving a sensible reading and the opening ‘UNCIAL’ text is allowed to prevail.

First Episode

QUEM*TU*MELPOMENE*SEMEL**

NASCENTEM*PLACIDO*LUMINE*VIDERIS**

ILLUM*NON*LABOR*ISTHMIUS**

CLARABIT*PUGILEM*NON*EQUUS*IMPINGER**

CURRU*DUCET*ACHAICO**

VICTOREM*NEC*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***

[Quem tu, Melpomene, semel nascentem placido lumine videris] – 'Anything that you, Melpomene, may have once beheld being created, with gentle insight,'[illum non labor Isthmius clarabit pugilem,] – 'it will not make to shine a boxer in the Isthmian Games,' It is important here to read both Quem and Illum as non–personal in the context of indefinite and demonstrative pronouns respectively. This interpretation is a pivotal key that unlocks the meaning of the whole ode. [non equus impinger curru ducet Achaico victorem] – 'nor, an impetuous rider, who will lead a chariot to victory in the Achaian Games,' [nec res bellica Deliis ornatum foliis ducem,] – 'nor, in matters relating to war, a leader adorned with the Delian laurel,' [quod regum tumidas contuderit minas, ostendet Capitolio;] – 'who may have crushed the puffed–up pride of kings, to display them on the Capitol;' [sed quae Tibur aquae fertile praefluunt] – 'but the prolific waters that flow through Tiburi' [et spissae nemorum comae] – 'and the dense leaves of the woods' [fingent Aeolio carmine nobilem.] – 'will mould nobility into Aeolian song.' It now becomes clear that Horace is giving a warning about what is to come. Nothing that follows is to be considered as lyric verse, despite the Aeolian lilt. It is tragic verse and it should be taken seriously.

Second Episode

ROMAE*PRINCIPIS*URBIUM**

DIGNATUR*SUBOLES*INTER*AMABILIS**

VATUM*PONERE*ME*CHOROS**

ET*IAM*DENTE*MINUS*MORDEOR*INVIDO**

O*TESTUDINIS*AUREAE**

DULCEM*QUAE*STREPITUM*PIERI*TEMPERAS**

O*MUTIS*QUOQUE*PISCIBUS**

DONATURA*CYGNI*SI*LIBEAT*SOMUM**

TOTUM*MUNERIS*HOC*TUI*EST**

QUOD*MONSTROR*DIGITO*PRAETEREUNTIUM**

ROMANAE*FIDICEN*LYRAE**

QUOD*SPIRO*ET*PLACEO*SI*PLACEO*TUUM*EST***

[Romae principis urbium ... suboles] – 'The progeny of Rome, that most distinguished of cities,' [dignatur ... inter amabiles vatum ponere me choros,] – 'consider me worthy to be placed amongst the chorus of inspired poets,' [et iam dente minus mordeor invido] – 'and already I am bitten less by the envious tooth.' [O testudinis aureae dulcem quae strepitum, Pieri, temperas,] – 'O golden shell that resounded for the Pierean Muse, with sweet modulations,' [O mutis quoque piscibus donatura cycni, si libeat, sonum,] – 'and who, if it may be agreeable, is about to present the swan's voice to the mute fishes,' [totum muneris hoc tui est] – 'this is all of your gifts,' [quod monstror digito praetereuntium Romanae fidicen lyrae:] – 'that I am pointed out by the finger of those passing by as a lyric poet of Rome:' [quod spiro et placeo, si placeo, tuum est.] – 'that I breathe and I please, if I please, it is your breath.' Word order must be considered carefully here. What Horace is saying here is that he intends to turn his lyre into an instrument of tradegy. He thanks it for what it has already done for him but says that he now must allocate its 'swans voice' to the 'dumb fishes.' In other words, give voice to matters that have been best left alone until now.

Ode 15 – Phoebus volentem proelia me loqui victas et urbis increpuit lyra,:- >

It is difficult to accept this ode as being intended in any other light than superficial praise for Augustus, while revealing an underlying contempt for what he represents and how he has achieved power.

Skirting delicately around the fact that Augustus is not a military leader of any note, Horace concentrates on his ability to achieve similar ends by diplomacy, for which he intends us to assume cunning and guile on the part of Augustus. Laws are passed on public morals, eagles are recovered, marriage is made respectable and ancient ways are restored. The fact that these are honoured in the breach rather than the observance is considered unimportant even though it has undermined the good name of Rome. Augustus who makes war for the purpose of propaganda and shows contempt for his own laws is the one liable to cause trouble not the other people within the empire. As Pontifex Maximus, Augustus leads the prayers of the people of Rome on religious days, remembering the past and the great Romans since Aeneas. At other times he practices double standards and is more likely to overindulge in the rites of Bacchus and the arts of Venus. This is an ode which, in Horace's eyes, might well have summarised all that was wrong with Rome and its chief citizen. It is difficult to believe that Horace would have wanted this ode to be the last one by which he wished to be remembered. On the other hand, taken at its superficial level only, it is just the kind of ode by which Augustus himself would have wished to be remembered! As with the Aeneid of Virgil, did he order Book IV to be posthumusly edited by Rufus Varius and Plotius Tucca also?

The metre is Alcaics and the ode falls into two episodes each of four stanzas. The first episode outlines the propaganda of Augustus, much as was later contained in the Res Gestae while the second explores the reality of life under the Princeps.

Episode 1

PHOEBUS*VOLENTEM*PROELIA*ME*LOQUI**

VICTAS*ET*URBIS*INCREPUIT*LYRA**

NE*PARVA*TYRRHENUM*PER*AEQUOR**

VELA*DAREM*TUA*CAESAR*AETAS**

FRUGES*ET*AGRIS*RETULLIT*UBERES**

ET*SIGNA*NOSTRO*RESTITUIT*IOVI**

DEREPTA*PARTHORUM*SUPERBIS**

POSTIBUS*ET*VACUUM*DUELLIS**

IANUM*QUIRINI*CLAUSIT*ET*ORDINEM**

RECTUM*EVANGANTI*FRENA*LICENTIAE**

INIECIT*EMOVITQUE*CULPAS**

ET*VETERAS*REVOCAVIT*ARTIS**

PER*QUAS*LATINUM*NOMEN*ET*ITALAE**

CREVERE*VIRES*FAMAQUE*ET*IMPERI**

PORRECTA*MAIESTAS*AD*ORTUS**

SOLIS*AB*HESPERIO*CUBILI***

[Phoebus volentem proelia me loqui victas et urbes increpuit lyra, ... Caesar,] – 'Caesar, wishing to discourse on warriors and cities having been conquered, Phoebus, in protest, withheld the music of the lyre from me,' [ne parva Tyrrhenum per aequor vela darem.] – 'lest I might despatch too small a ship through the Etruscan sea.' Horace cannot discourse on the military exploits of Augustus, there are none! Tyrrhenum per aequor could well be a reference to Horace's patron, Maecenas, of Etruscan descent and presumably the vehicle through which any poem of Horace would reach Augustus.

[Tua ... aetas fruges et agris rettulit uberes et signa nostro restituit Iovi derepta Parthorum superbis postibus et vacuum duellis Ianum Quirini clausit] – 'your time in office has brought back and restored our legionary standards to the temple of Quirinal Jupiter without conflict and, having been torn away from the gates of the proud Parthians with abundant produce from the farms, has closed the temple of Janus.' Word order and grammar are quite complex in these five lines, overlapping, as they do, three stanzas. However it does solve the question of why Horace appeared to have brought together such unrelated acts as agriculture and the recovery of the Persian eagles. It also solves the nagging question of why the farms apparently needed restoring to prosperity in the first place. Altogether quite wicked satire!

[et ordinam rectum evaganti frena licentiae iniecit emovitque culpas et veteres revocavit artes,] – 'it has revived the ancient practices and invited back licentious behaviour; it has inspired full liberty for overstepping the bounds of decency and has removed all blame,' [per quas Latinum nomen et Italae crevere vires famaque et imperi porrecta maiestas ad ortus solis ab Hesperio cubili.] – 'by which the dignity and the reputation of the government, having been laid low, the Latin name and the power of Italy have increaed in size from the sun's rising to its couch in the Hesperides.' A very damning observation by Horace, not only on the morals of its leader but the means by which Rome expended her frontiers. Once again an unspoken criticism and comparison with Republican ideals.

Episode 2.

CUSTODE*RERUM*CAESARE*NON*FUROR**

CIVILIS*AUT*VIS*EXIGET*OTIUM**

NON*IRA*QUAE*PROCUDIT*ENSIS**

ET*MISERAS*INIMICAT*URBIS**

NON*QUI*PROFUNDUM*DANUVIUM*BIBUNT**

EDICTA*RUMPENT*IULIA*NON*GETAE**

NON*SERES*INFIDIQUE*PERSAE**

NON*TANAIN*PROPE*FLUMEN*ORTI**

NOSQUE*ET*PROFESTIS*LUCIBUS*ET*SACRIS**

INTER*IOCOSI*MUNERA*LIBERI**

CUM*PROLE*MATRONISQUE*NOSTRIS**

RITE*DEOS*PRIUS*ADPRECATI**

VIRTUTE*FUNCTOS*MORE*PATRUM*DUCES**

LYDIS*REMIXTO*CARMINE*TIBIIS**

TROIAMQUE*ET*ANCHISEN*ET*ALMAE**

PROGENIEM*VENERIS*CANEMUS***

[Custode rerum Caesare non furor civilis aut vis exiget otium, non ira, quae procudit enses et miseras inimicat urbes;] – 'For Caesar the guardian of affairs, not wrath nor civil force or disturbance, who forges swords and makes unfriendly cities wretched, will drive away ease;' The proper placing of non ... aut ... non is critical to the correct understanding of this passage of text and its embedded satire. Once again there is an indirect reference to the unprovoked attack on the Vindelici.

[Non qui profundum Danuvium bibunt edicta rumpent Iulia,] – 'They who drink deeply of Danube waters will not break the Julian edicts,' [non Getae, non Seres infidique Persae, non Tanain prope flumen orti;] – 'nor the Thracians nor the Chinese and the faithless Persians, nor (they) having been born near the river Tanais;'

[Nosque et profestis lucibus et sacris inter iocosi munera Libericum prole matronisque nostris rite deos prius ad precati virtute functos more patrum duces Lydis remixto carmine tibiis Troiamque et Anchisen et almae progeniem Veneris canemus. ] – 'on holy festival days you will lead us, with wives and offspring, to pray before the gods of our ancestors, with the appropriate forms having been performed in the characteristic custom of our fathers and we will celebrate, in song, Troy and Anchises and his famous progeny, On other days, song having been mingled with the Lydian flute, (you will lead us) to carouse amid the pleasures of Bacchus and Venus.' It has proved impossible to translate these two final stanzas piecemeal since the word order is quite complex. Together they perform the task of returning the sense of the ode back to Augustus personally. Horace is commenting here on the double standards of Augustus; on the few holy days being the model leader, on every other day leading a dissolute and drunken lifestyle.

Ode 14 – Quae cura patrum quaeve Quiritum plenis honorum muneribus tuas:-,

This has always been considered to be an ode in praise of Tiberius, only slightly less adulatory than that of ode IV,4, in praise of his younger brother Drusus. However, as in the latter, Augustus himself is made the focal point of this ode also. It is Augustus who is the master mind and the provider of the means and incentive or, conversely, it is Augustus who is responsible for a massacre of primitive native tribesmen who posed no threat to Rome but provided an easy conquest for his stepsons to prove their military worth.

In the first episode Horace, describing how Drusus and Tiberius subdued the Vindelici and Rhaetii, enquires whether Augustus would have achieved the conquest in the same way or would he have negotiated a settlement as so often before! In the second Horace likens the deed to a mighty river, Aufidus, which, while it inundates the land and makes life very difficult, it provides year long fertilization and nutrition thereafter. He pretends to discover that it is fifteen years since Actium, another bloody massacre, this time accomplished for Augustus by Marcus Agrippa. Horace enquires whether Augustus will steal the credit for the Danube campaign also. The third episodes ranges around the known world, ostensibly wondering how it views Augustus and concludes that it does not regard him with any awe or trepidation.

Quinn lists the metre as Alcaics and the ode falls into three episodes of six, three and four stanzas respectively. The second episode is clearly pivotal, swinging the bombast of the first episode into the ridicule of the third.

Episode 1

QUAE*CURA*PATRUM*QUAEVE*QUIRITIUM**

PLENIS*HONORUM*MUNERIBUS*TUAS**

AUGUSTE*VIRTUTES*IN*AEVUM**

PER*TITULOS*MEMORESQUE*FASTUS**

AETERNET*O*QUA*SOL*HABITABILIS**

INLUSTRAT*ORAS*MAXIME*PRINCIPUM**

QUEM*LEGIS*EXPERTES*LATINAE**

VINDELICI*DIDICERE*NUPER**

QUID*MARTE*POSSES*MILITE*NAM*TUO**

DRUSUS*GENAUNOS*INPLACIDUM*GENUS**

BREUNOSQUE*VELOCIS*ET*ARCES**

ALPIBUS*INPOSITAS*TREMENDIS**

DEIECIT*ACER*PLUS*PLUS*VICE*SIMPLICI**

MAIOR*NERONUM*MOX*GRAVE*PRELIUM**

CONMISIT*IMMANESQUE*RAETOS**

AUSPICIIS*PEPULIT*SECUNDIS**

SPECTANDUS*IN*CERTAMINE*MARTIO**

DEVOTA*MORTI*PECTORA*LIBERAE**

QUANTIS*FATIGARET*RUINIS**

INDOMITAS*PROPE*QUALIS*UNDAS**

EXERCET*AUSTER*PLEIADUM*CHORO**

SCINDENTE*NUBIS*IMOIGER*HOSTIUM**

VEXARE*TURMAS*ET*FREMENTEM**

MITTERE*EQUUM*MEDIOS*PER*IGNIS***

[Quae cura patrum quaeve Quiritum plenis honorum muneribus tuas, Auguste, virtutes in aevum per titulos memoresque fastus aeternet.] – 'Augustus, with what full honours of the Senate or offices of the People may the eternal calendar immortalize your virtues and made be immemorial with inscriptions,' Horace is no doubt referring to the many offices that Augustus, as Princeps, took upon himself, having carefully orchestrated the Senate to offer them to him in the first place. As an opening sentence, it has a very 'tongue–in–cheek' feel about it [o, qua sol habitabiles inlustrat oras, maxime principum, quem legis expertes Latinae Vindelici didicere nuper, quid Marte posses.] – 'O, most distinguished of chief citizens, by whom the sun makes light in the habitable world, would you, having no need for recourse to Mars, have been able to convert the Vindelici to the benefits of Latin law? ' [Milite nam tuo Drusus Genaunos, implacidum genus, Breunosque veloces et arces Alpibus impositas tremendis deiecit acer plus vice simplici;] – 'For Drusus, fierce offspring from a soldier, hurled down the Genauni and the Breuni from the terrible ramparts of the Alps; a more simple, sharp and rapid alternative solution having been imposed;' This passage, from line five to line thirteen is very complex, both in grammar and word order, but when disentangled is discovered to be quite delicious satire. Horace is taunting Augustus by referring to his penchant for negotiation instead of conflict; as witness the return of the Eagles from Parthian hands. Its beauty lies in the fact that, read superficially, it can easily be mistaken for praise.

[maior Neronum mox grave proeliumcommisit immanesque Raetos auspiciis pepulit secundis,] – 'by and by, following in quick succession and under the command of the elder Nero, he combined in heavy conflict and routed the savage Rhaetians,' It is interesting to note that Horace understands Drusus to have been under the command of Tiberius, which of course would make military sense and it is certainly a more correct reading of Neronum ... auspiciis that makes real sense, where secundis must surely be taken in connection with mox. It was also almost certainly have been meant as further dig at Augustus, that Drusus was guided by Tiberius, not a great favourite and they were both only adopted sons of Augustus; their natural father having been a distingushised military commander under Julius Caesar!

[spectandus in certamine Martio devota morti pectora liberae quantis fatigaret ruinis,] – 'how great the martial contest having been devoted to death, for the catastrophe to be beheld might trouble the hearts of free men.' [indomitas prope qualis undas exercet Auster Pleiadum choro scindente nubis,] – 'as the south wind, tearing asunder the clouds, soon converts the untamed waters to the chorus of the Pleiades,' [impiger hostium vexare turmas et frementem mittere equum medios per ignis.] – eager to shatter the enemy host and raging to send (his) horse into the midst of the conflict.' The narrative section, impiger ... ignis, seems very much out of context in its position at the end of this first episode. It most properly belongs immediately after the section, maior ... secundis, leaving the section, indomitas ... nubis, as the most fitting conclusion to this first episode. In all it seems to establish Drusus as the prime mover in the conquest of the upper Danube territories, with Tiberius relegated to the role of commander–in–chief. Horace once again seems to be commenting on the overiding savagery of the Roman offensive and underlining the unequal odds and the unnecessary carnage.

Episode 2

SIC*TAURIFORMIS*VOLVITUR*AUFIDUS**

QUI*REGNA*DAUNI*PRAEFLUIT*APULI**

CUM*SAEVIT*HORRENDAMQUE*CULTIS**

DILUVIEM*MEDITATUR*AGRIS**

UT*BARBARORUM*CLAUDIUS*AGMINA**

FERRATA*VASTO*DIRUIT*IMPETU**

PRIMOSQUE*ET*EXTREMOS*METENDO**

STRAVIT*HUMUM*SINE*CLADE*VICTOR**

TE*COPIAS*TE*CONSILIUM*ET*TUOS**

PRAEBENTE*DIVOS*NAM*TIBI*QUO*DIE**

PORTUS*ALEXANDREA*SUPPLEX**

ET*VACUAM*PATEFECIT*AULAM**

FORTUNA*LUSTRO*PROSPERA*TERTIO**

BELLI*SECUNDOS*REDDIDIT*EXITUS**

LAUDEMQUE*ET*OPTATUM*PERACTIS**

IMPERIIS*DECUS*ADROGAVIT***

[Sic tauriformis volvitur Aufidus, qui regna Dauni praefluit Apuli,] – 'So, as Ox–like Aufidus, as it flows past the kingdom of Apulian Daunus, is twisted around,' [cum saevit horrendamque cultis diluviem meditatur agris,] – 'it rages with frightful inundation but it may be considered to cultivate the farmland,' [ut barbororum Claudius agmina ferrata vasto diruit impetu] – 'in the same way Claudius destroys with rapid motion and lays waste with steel the armies of barbarians' [primosque et extremos metendo stravit humum sine clade victor,] – 'and the least civilized to be mown down by the most civilized when, as a conqueror, he levels the earth without loss to himself,' [te copias, te consilium et tuos praebente divos;] – 'from you the orders, from you the means and from your gods the blessing;' This passage, far from being a paean of praise for Augustus, is surely intended to be a sad reflection on the acquisitiveness of Rome. Territorial expansion was never the prime motive of the Republican ethos who attacked only as a response to a direct threat to Rome. It must have seemed to that staunch republican Horace, and presumably other Romans, that Raetia presented no threat to Rome and the upper Danube campaign as quite unnecessary.

[nam tibi quo die portus Alexandrea supplex et vacuam patefecit aulam,] – 'for Alexandria, as a suppliant, opened the harbours and the vacant palace for you on this day,' [fortuna lustro prospera tertio belli secundus reddidit exitus] – 'three lustrums since, now the fortune of war is restored following another enterprise' [laudemque et optatum peractis imperiis decus adrogavit.] – 'and you will have accomplished an exploit of war, having been long desired, but appropriated for yourself praise from the state to which you have no claim.' Actium, the fall of Alexandria and the defeat of Mark Antony was the last time that Roman forces had taken the initiative in attack and then it was Marcus Agrippa who led the field, not Augustus. Any subsequent military activity had been of against existing parts of the Roman Empire or purely defensive, witness Marcus Lollius against the Sygambrian invasion of Gaul, which in any case was a sad defeat. Horace is making the point here that was an unnecessary incursion into the upper regions of the Danube, against primitive tribes, in order to boost Augustus's image and, once again, someone else had fought the campaign while Augustus would be claimimg the glory.

Episode 3

TE*CANTABER*NON*ANTE*DOMABILIS**

MEDUSQUE*ET*INDUS*TE*PROFUGUS*SCYTHES**

MIRATUR*O*TUTELA*PRAESENS**

ITALAE*DOMINAEQUE*ROMAE**

TE*FONTIUM*QUI*CELAT*ORIGINES**

NILUSQUE*ET*HISTER*TE*RAPIDUS*TIGRIS**

TE*BELUOSUS*QUI*REMOTIS**

OBSTREPIT*OCEANUS*BRITANNIS**

TE*NON*PAVENTIS*FUNERA*GALLIAE**

DURAEQUE*TELLUS*AUDIT*HIBERIAE**

TE*CAEDE*GAUDENTES*SYGAMBRI**

CONPOSITIS*VENERANTUR*ARMIS***

[Te Cantaber non ante domabilis Medusque et Indus, te profugus Scythes miratur, O tutela] – 'O protector, the Cantabrian, never tameable before, the Mede and the Indian, the fugitive Scythian, is astonished at you, – [praesens Italae dominaeque Romae;] – 'being set over Rome, the mistress of Italy;' One must truly admire the tongue–in–cheek nature of this stanza! [te fontium qui celat origines Milusque et Hister, te rapidus Tigris, te beluosus qui remotis obstrepit Oceanus Britannis,] – (as does) the Nile which hides the origins of its streams, the lower Danube, the rapid Tigris, and the monster–filled Britannic Ocean, which clamours aginst us, having been free from you,' [te non paventis funera Galliae duraeque tellus audit Hiberiae,] – 'For Gaul and the hard land of Hiberia hears from you, without quaking with fear for sudden destruction,' [te caede gaudentes Sygambri compositis venerantur armis.] – 'for the killing (of Romans) equipped by you, the rejoicing Sygambri, having been merely reconciled, may be honoured. The ending of this ode is particularly telling and the sting in the tail, referring to Augustus allowing the Sygambri to go unpunished after capturing an eagle, is pure satire at its best.

Ode 4 – Qualem ministrum fulminis alitem:-

In 16 BC. Drusus, the stepson of Augustus, under the overall command of his older brother Tiberius, led the legions that subjugated the small mountain tribe of the Vindelici. Precisely why this particular tribe had to be brought under control is not certain. Most historians have assumed that the southern shore of the upper Danube was required to ensure a continual line of defence from the Rhine to the lower Danube. However, in view of its mountainous terrain and the ease with which the southern passes of the Alps could be defended, it seems to be an argument that is difficult to sustain. Horace leaves us with the feeling that it was more a case of a sledgehammer to a nut, or, more appropiately, an excellent opportunity for a young man to win his spurs. It is not known what forces were employed but there is evidence that at least five legions were stationed in the vicinity at the time.

Horace invokes the allegory of Zeus using, or misusing, his thunderbolt bearer, the eagle, to abduct the beautiful boy Ganymede for his pleasure. Horace then expands his theme, to Augustus under whose tutelage Drusus grew up, to the Roman Republican ethic as seen by Hannibal and, lastly, to Claudian usage under the Principate. Taken objectively, what at first might be seen as a a panegyric to a young general, is seen as a wry commentary on current mores.

In this ode Horace would seem to be holding up some sort of mirror for his fellow Romans. He makes the comparison of how things were in the days of the Republic to what they have now become. Then, generals were selected by the Senate for their military prowess and mature judgement. Now, the stepsons of the princeps are given command at an absurdly young age and placed over seasoned veterans. Then, campaigns were directed at enemies of Rome and not necessarily for territorial gain. Now they are directed for the sole purpose of self aggrandizement against insignificant people posing no threat to the security of Rome. What has happened to Rome? Where is the ethic that allowed it to persevere against Hannibal? What are the Claudians doing to the proud name of Rome. Horace's verse is wrapped carefully in full sounding phrases that might easily be mistaken for flattery but there is a real feeling of bitterness buried there.

In the same way as Odes IV, 1 and IV, 2, Horace uses a third person, almost as a decoy, to disguise his attack on Augustus or the Principate. Then it was Paullus Maximus or Julius Antonius, this time it is Drusus, the stepson of Augustus. Horace is not overtly unkind to Drusus, recognising in him a true descendant of the gens Claudia. However he makes us conscious of the fact that, living under the influence of Augustus, he may have inherited his cruel streak. This makes him behave out of character, dishonouring the name of his great ancestor who saved Rome from Hannibal.

The ode then leads us to believe that the Vindelican incident was an unnecessary campaign, the resubjugation of an already conquered people, either for the purpose of pure propaganda or to ensure Drusus an easy victory on his first campaign. The cruelty shown by Drusus to this primitive people is underlined. Horace compares this unfavourably with the days of the Republic when Rome lived in real danger of subjugation herself and of the qualities that finally overcame the threat of Hannibal. From this the ode spends some time on this theme and ends with an indictment on the present bearers of the Claudian name.

This ode cannot be taken to be a praisesong to Drusus and, by implication, Augustus in any context whatsoever. It is arguably an attack on the establishment in general and Augustus in particular.

The nineteen, four line, stanzas of this ode are divided into five episodes. In the first, of four stanzas, Horace uses allegory to comment on the use that Augustus makes of Drusus. Quinn prefers to regard these stanzas as a use of simile, yet it seems clear that Horace intends us to make a direct comparison here. The second episode, of five stanzas, is concerned with the manner in which Drusus carries out the commands of Augustus. The third episode, of three stanzas, is concerned with the influence that the Claudius Nero, an ancestor of Drusus, had on the history of Rome. The fourth episode, of six stanzas, is in the form of a diatribe put in the mouth of Hannibal, describing the Romans in defeat and victory. The fifth episode, a single stanza, codifies the present Claudian ethic in relation to the ethos of Republican Rome.

Episode 1

QUALEM*MINISTRUM*FULMINIS*ALITEM**

CUI*REX*DEORUM*REGNUM*IN*AVIS*VAGAS**

PRMISIT*EXPERTUS*FIDELEM**

IUPPITER*IN*GANYMEDE*FLAVO**

OLIM*IUVENTAS*ET*PATRIUS*VIGOR**

NIDO*LABORUM*PROPULIT*INSCIUM**

VERNIQUE*IAM*NIMBIS*REMOTIS**

INSOLITOS*DOCUERE*NISUS**

VENTI*PAVENTEM*MOX*IN*OVILIA**

DEMISIT*HOSTEM*VIVIDUS*IMPETUS**

NUNC*IN*RELUCTANTIS*DRACONES**

EGIT*AMOR*DAPIS*ATQUE*PUGNAE**

QUALEMVE*LAETIS*CAPREA*PASCUIS**

INTENTA*FULVAE*MATRIS*AB*UBERE**

IAM*LACTE*DEPULSUM*LEONEM**

DENTE*NOVO*PERITURA*VIDIT***

[Olim iuventas et patrius vigor nido laborum propulit inscium,] – 'For the first time youth and paternal force drags him away from the nest, ignorant of life's labours,' [vernique iam nimbis remotis insolitos docuere nisus venti paventem] – 'already, unaccustomed to being afraid of the distant wind, the spring storms have taught him flight,'. Horace continues the allegory. The young eagle is driven from the patental nest to fend for himself; Drusus is sent away to learn the trade of war.

[mox in ovilia demisit hostem vividus impetus,] – 'by and by, true to form and violent impulse he descended like an enemy on a sheepfold,' [nunc in reluctantes dracones egit amor dapis atque pugnae;] – 'now in facing unwilling dragons he has needed a desire of a sacrificial feast and also a fight;' The verb reluctor is deponent – not indicating a struggle against but a reluctance to struggle at all! Coupled with the mythical dracones, Horace is surely pointing out a farcial situation here. Fighting 'reluctant dragons' has an air of Don Quixote about it; a quite definite reductio ad absurdum on the part of Horace. Augustus, presumably with the knowledge of Drusus, is using the Vindelici as a psuedo enemy of Rome in order to provide Drusus with an easy conquest and a sacrificial victim!

[qualemve laetis caprea pascuis intenta] – 'as the anxious roebuck in fruitful pastures' [fulvae matris ab ubere iam lacte depulsum leonem ... vidit] – 'that has already seen the lion driven from the milk under the udder of its tawny mother' [dente novo peritura] – 'about to make a trial with its new teeth:' So Horace concludes the allegory. Ganymede sees the eagle swooping down upon him and is powerless to resist; the hapless Vindelici see the legions gathering on the heights and wonder what they have done to deserve this overwhelming punishment.

Episode 2

VIDERE*RAETIS*BELLA*SUB*ALPIBUS**

DRUSUM*GERENTEM*VINDELICI*QUIBUS**

MOS*UNDE*DEDUCTUS*PER*OMNE**

TEMPUS*AMAZONIA*SECURI**

DEXTRAS*OBARMET*QUAERERE*DISTULI**

NEC*SCIRE*FAS*EST*OMNIA*SED*DIU**

LATEQUE*VICTRICES*CATERVAE**

CONSILIIS*IUVENIS*REVICTAE**

SENSERE*QUID*MENS*RITE*QUID*INDOLES**

NUTRITA*FAUSTIS*SUB*PENETRALIBUS**

POSSET*QUID*AUGUSTI*PATERNUS**

IN*PUEROS*ANIMUS*NERONES**

FORTES*CREANTUR*FORTIBUS*ET*BONIS**

EST*IN*IUVENCIS*EST*IN*EQUIS*PATRUM**

VIRTUS*NEQUE*INBELLEM*FEROCES**

PROGENERANT*AQUILAE*COLUMBAM**

DOCTRINA*SED*VIM*PROMOVET*INSITAM**

RECTIQUE*CULTUS*PECTORA*ROBORANT**

UTCUMQUE*DEFECERE*MORES**

INDECORANT*BENE*NATA*CULPAE***

[Videre Raetis bella sub Alpinus Drusum gerentem Vindelic;] – 'So the Vindelici saw Drusus bringing war to Raetia under the Alps;' This qualifies the previous stanza, as indicated. [quibus mos unde deductus per omne Amazonia securi dextras obarmet,] – 'from which the origin of the legend having been culled, that the right hands (of the Vindelici) may have been armed with Amazonian axes,' The Amazonian axe would have been a very primitive weapon, requiring a wide open stance for delivery. Against Roman swords and shields it would have been quite ineffectual. Horace is here surely underlining the one–sided nature of the conflict by attributing this mythical weapon to the Vindelici. [quaerere distuli, nec scire fas est omnia;] – 'I have foregone to enquire further, it is not permitted to know everything;' A rather sinister aside on the part of Horace! [sed diu lateque victrices catervae consiliis iuvenis revictae] – 'but by the counsels of youth, the conquerors reconquered the crowd of barbarians, left, right and centre'. A rather ambivalent comment from Horace. [sensere quid mens,] – 'who perceived that the intellectual,' [rite quid indoles nutrita faustis] – 'nature that so easily nurtured good fortune' [sub penetralibus posset, quid Augusti paternus in pueros animus Nerones.] – 'might have been influenced by the paternal influence of Augustus upon the young Neros.' A deceptively innocuous comment from Horace which, in fact, says that Augustus conditioned the young Neros to be like himself. It all depends upon what one feels about Augustus!

[Fortes creantur fortibus et bonus;] – 'The strong are produced by the powerful and the able;' [est in iuvencis, est in equis patrum virtus,] – 'the quality for young men, as it is for horses, is the quality of the sires,' Thus Horace hammers home a homily, guileless in the extreme! [neque imbellem feroces progenerant aquilae columbam.] – 'Predatory eagles do not engender the peaceful dove.' Horace closes the matter by a return to the theme of the opening stanza and justifies its use.

[Doctrina sed vim promovet insitam,] – 'training improves but violence having been inbred,' [rectique cultus pectora roborant] – ' they are equally reinforced by a divine right and cultivated in the breast;' It seems necessary to qualify the meaning of both recti and roborant here to clarify the nature of the sentiment expressed by Horace. 'Divine right' was conferred on the eagle by Zeus; similarly Augustus gave Drusus command of his legions. Training in war is of little use if the will to kill without thought is not already part of the psyche! [utcumque defecere mores, indecorant bene nata culpae.] – 'however, by having been born noble, to rebel against the fault may dishonour the custom.' The deceptive word order in these latter passages perhaps illustrates, better than most, the delicate and masterly way in which Horace walks the narrow line between parody and insult. Read superficially it appears to be harmless praise; read in the context of what it pretends to celebrate, it is a quite devastating attack on the exercise of absolute power.

Episode 3

QUID*DEBEAS*O*ROMAE*NERONIBUS**

TESTIS*METAURUM*FLUMEN*ET*HASDRUBAL**

DEVICTUS*ET*PULCER*FUGATIS**

ILLE*DIES*LATIO*TENEBRIS**

QUIDÖPRIMUS*ALMA*RISIT*ADOREA**

DIRUS*PER*URBIS*AFER*UT*ITALAS**

CEU*FLAMMA*PER*TAEDAS*VEL*EURUS**

PER*SICULAS*EQUITAVIT*UNDAS**

POST*HOC*SECUNDIS*USQUE*LABORIBUS**

ROMANA*PUBES*CREVIT*ET*IMPIO**

VASTATA*POENORUM*TUMULTTU**

FANA*DEOS*HABUERE*RECTOS***

[Quid debeas, O Romae, Neronibus,] – 'Oh Rome, what may you owe to the Neros,' [testis Metaurum flumen et Hasdrubal devictus] – 'the conquered Hasdrubal and the river Metaurus bear witness'. This is outright praise but praise for the gens Claudia, not for the gens Julia into which Augustus was only adopted. There seems to be no doubt that Horace is making a clear distinction here between the noble forebears of Drusus and those of Augustus. [et pulcher fugatis ille dies Latio tenebris,] – 'and that noble day you put to flight black ignominy,' This refers to the battle that caused the first reverse to Hannibal's invasion of Italy. Fugatis must be taken as the second person plural of fugo to make any sense at all. The gens Claudia, in the shape of Claudius Nero, not only saved Rome, they saved her face in the eyes of the world! As a corollary to it the conquest of the Vindelici bears no comparison.

[Qui ... alma risit adorea,] – 'that day the propitious reward of valour smiled,' [primus ... dirus per urbes Afer ut Italas] – 'since the fearful African first rampaged through the cities of Italy' [ceu flamma per taedas vel Eurus per Siculas equitavit undas.] – ' as if a flame through pine trees or the south–east wind over the Sicilian waters'. [Post hoc secundis usque laboribus Romana pubes crevit,] – 'After this the Roman population by continuous and sustained dedication increased in size,' [et impio vastata Poenorum tumultu fana deos habuere rectos.] – 'and having been laid waste by the godless tumult of the Carthaginians, they had the temples of the gods re–erected.' Horace labours to point the comparison even further. These were the days of Rome's Republican glory, when the common good was everything and a common responsibility the only way forward. In complete contrast with the Rome of Augustus when conquest for the sake of propanganda was an acceptable means of progression.

Episode 4

DIXITQUE*TANDEM*PERFIDUS*HANNIBAL**

'CERVI*LUPORUM*PRAEDA*RAPACIUM**

SECTAMUR*ULTRO*QUOS*OPIMUS**

FALLERE*ET*EFFUGERE*EST*TRIUMPHUS**

GENS*QUAE*CREMATO*FORTIS*AB*ILIO**

IACTATA*TUSCIS*AEQUORIBUS*SACRA**

NATOSQUE*MATUROSQUE*PATRES**

PERTULIT*AUSONIAS*AD*URBIS**

DURIS*ET*ILEX*TONSA*BIPENNIBUS**

NIGRAE*FERACI*FRONDIS*ALGIDO**

PER*DAMNA*PER*CAEDIS*AB*IPSO**

DUCIT*OPES*ANIMUMQUE*FERRO**

NON*HYDRA*SECTO*CORPORE*FIRMIOR**

VINCI*DOLENTEM*CREVIT*IN*HERCULEM**

MONSTRUMVE*SUBMISERE*COLCHI**

MAIUS*ECHIONIAEVE*THEBAE**

MERSES*PROFUNDO*PULCRIOR*EVENIT**

LUCTERE*MULTA*PRORUET*INTEGRUM**

CUM*LAUDE*VICTOREM*GERETQUE**

PROELIA*CONIUGIBUS*LOQUENDA**

CARTHAGINI*IAM*NON*EGO*NUNTIOS**

MITTAM*SUPERBOS*OCCIDIT*OCCIDIT**

SPES*OMNIS*ET*FORTUNA*NOSTRI**

NOMINIS*HASDRUBALE*INTEREMPTO**

[Dixitque tandem perfidus Hannibal;] – 'At length perfidious Hannibal said:' ["cervi luporum praeda rapacium, sectamur ultro,] – 'We may as well eagerly hunt stags, the quarry of ravening wolves' [quos opimus fallere et effugere est triumphus] – 'whose splendid triumph it is to deceive and fly away.' Having commenced the ode with allegory, Horace now descends to simile, using the natural world to illustrate how the Romans survived the Hannibal invasion. It would seem that the guerilla tactics of Fabius Cunctator are clearly indicated.

[Gens, quae cremato fortis ab Ilio ... pertulit Ausonias ad urbes,] – 'This durable race, having been through the fire before Ilium and brought to Italian towns,' [iactata Tuscis aequoribus] – 'having been scattered across the Tuscan seas,' [sacra natosque maturosque patres,] – 'with the young and the old and the sacred images of ancestors,' Horace clearly identifies with Virgil in the legend of Aeneas and the flight from Troy. The ancestors and Anchises is also referred to and the 'Tuscan Seas' seems a clear reference to the Tyrrhenian Sea.

[Duris ut ilex tonsa bipennibus nigrae frondis in Algido,] – 'As strong as the holm–oak on Mount Algidus, having been shorn by the double–edged axe for the bounty of the black foliage,' [per damna, per caedes ab ipso ducit opes animusque ferro.] – 'through loss, through shearing, it draws renewed life and power from the very steel itself.' Horace uses another simile from nature. The holm oak was cropped for its leaves, which were an important source of a vegetable dye extract. Its sturdy nature benefitted from constant pruning and it was successfully farmed, in situ, in the Algidus mountains of central Italy.

[Non hydra secto corpore firmior vinci dolentem crevit in Herculem,] – 'No more stronger grew the hydra, to be conquered by Hercules, having suffered pain and with the body having been cut to pieces,' [monstrumve submissere Colchi maius Echionnniave Thebae] – 'neither from Colchis nor Echionian Thebes a greater marvel to be subordinated.' Horace returns to allegory. Firstly, Hannibal likens himself to Hercules and the Romans to the Hydra without anticipating a victory on his part. Secondly, he likens the Romans to the Colchians and himself to Jason and his followers fighting against the magic of Medea. Thirdly, he compares the Romans to Cadmus and his ability to sow teeth and reap warriors.

[Merses profundo, pulchrior evenit;] – 'You may immerse in the depths, it comes forth more magnificent;' [luctere, multa proruet ... cum laude victorem] – 'You wrestle, and with great eclat it will overthrow the conqueror' [integrum ... geretque proelia coniugibus loquenda.] – 'and having begun afresh, will wage war to be spoken of by families.' Horace rather launches himself on hyperbole here, where he could have continued either allegory or simile without too much strain on the narrative.

[Carthagini iam non ego numtios mittam superbos:] – 'Now I will send no proud messengers to Carthage:' [occidit, occidit spes omnis et fortuna nostri nominis] – 'It dies, all the hope and good luck of our name has died,' [Hasdrubale interempto."] – 'with Hasdrubal having been destroyed.' This is a heartfelt lament, obviously keenly felt by Horace. Hasdrubal was the younger brother of Hannibal and his death at the battle of Metaurus the first clear victory of the Romans over Hannibal. There would not seem to be any comparison that Horace could be aiming at here, unless the death of Marcus Agrippa in 12 BC. might have triggered the outburst. However, this seems a little too tenuous to be advanced seriously.

Episode 4.

NIL*CLAUDIAE*NON*PERFICIENT*MANUS**

QUAS*ET*BENIGNO*NUMINE*IUPPITER**

DEFENDIT*ET*CURAE*SAGACES**

EXPEDIUNT*PER*ACUTA*BELLI***

[Nil Claudiae non perficient manus, quas et benigno numine Iuppiter defendit et curae sagaces expediunt per acuta belli] – 'The Claudian hand, having been made cunning by war, accomplishes nothing that Jupiter does not watch over with benign dignity and which keen perception and care make expedient' This is a very enigmatic ending of the ode and not easy to interpret. It does not seem to have been intended as a compliment and it is worded very carefully indeed. The previous nine stanzas have been in favour of the gens Claudia but the 'hand of the Claudians' seems to be emphasized too much to be a continuation of the compliment. The ode began with Jupiter giving the eagle the kingdom of the air in return for a delicate service. Is this manus Claudiae intended to refer to Drusus and Tiberius or to Augustus? The former are true gens Claudia, the latter by adoption only. Whichever is intended, does the phrase refer to the present day holders of the family title? It would seem that Horace must be re–evoking the original allegory where Augustus is Jupiter and for manus Claudiae we should read claws of Claudians, as referring to his stepsons. This stanza then says, in effect, that they will only do what Augustus dictates and in the manner that he directs. Once again, it all boils down to what one thinks of Augustus and provides us with magnificent satire.

Ode 5 – Divis orte bonis, optume Romulae custos gentis,:-

A seemingly simple ode that would appear to implore Augustus to return from his long absence in Gaul and Spain. The first section describes the feelings of the Senate and people of Rome over this absence. The second section seems to reflect on a stable state of things that either prevails while he is away or which will be reinstated when he returns. The third section is a philosophical argument of his status and the final section an apparent invocation.

The overt intention is to convince Augustus of the need to return to Rome because the citizens and the Senate are in dire need of his controlling authority. However, what emerges does not seem to support this ideal. Quite the opposite in fact, for Horace's narrative is so deceptively constructed that many ambiguities prevail. One is left with the feeling that, while the cake is iced, what lies underneath is by no means entirely wholesome.

Augustus was absent from Rome for three years, from 16–13 BC., and this apparent invocation must have been written in relation to this absence. It is worded in a very flippant vein and it is difficult to accept it at face value. We are left uncertain as to whether Rome is suffering or benefiting from his absence. There are sweeping statements interspersed with almost inane comments. Contrast stanza 7 with stanza 8, or stanzas 1–2 with stanzas 5–6. This sort of narrative is surely the stuff of satire; it cannot stand as valedictory verse. The general feeling that emerges is that Horace, presumably speaking for the people of Rome also, is chastising Augustus for wasting his time in Gaul and Spain. There is really no sense of urgency in wanting his return, only outrage.

However there is a real sense of ambiguity in the first episode, as though someone else, other than Augustus, may be recipient of the fulsome praise

Structure:

The ode consists of ten quatrains which can be divided into four episodes. The first episode is of four quatrains, the second of two quatrains, the third of three quatrains and the fourth a single quatrain.

Episode 1

DIVIS*ORTE<FFE6>BONIS*OPTUME*ROMULAE**

CUSTOS*GENTIS*ABES*IAM*NIMIUM*DIU**

MATURUM*REDITUM*POLLICITUS*PATRUM**

SANCTO*CONCILIO*REDI**

LUCEM*REDDE*TUAE*DUX*BONE*PATRIAE**

INSTAR*VERIS*ENIM*VOLTUS*UBI*TUUS**

ADFULSIT*POPULO*GRATIOR*IT*DIES**

ET*SOLES*MELIUS*NITENT**

UT*MATER*IUVENEM*QUEM*NOTUS*INVIDO**

FLATU*CARPATHII*TRANS*MARIS*AEQUORA**

CUNCTANTEM*SPATIO*LONGIUS*ANNUO**

DULCI*DISTINET*A*DOMO**

VOTIS*OMNIBUSQUE*ET*PRECIBUS*VOCAT**

CURVO*NEC*FACIEM*LITORE*DIMOVET**

SIC*DESIDERIIS*ICTA*FIDELIBUS**

QUAERIT*PATRIA*CAESAREM***

[Divis orte bonis, optime Romulae custos gentis,] – 'Best champion of the race of Romulus, born from the blessed Gods,' [abes iam nimium diu;] – 'already you absent yourself for too long;' Whether this is intended as a lament or an admonition is not too clear. [maturum reditum pollicitus patrum sancto concilio redi.] – 'return to the venerable counsel of the senators, having promised an early return.' The use of the imperative confirms the admonition and although sancto ... patrum could mean 'sacred ... of the ancestors', the historical references to the long absence of Augustus at this time must lead us to a political meaning.

[Lucem redde tuae, dux bone, patriae:] – 'Restore the light to your fatherland, O good leader,' [instar veris enim vultus ubi tuus adfulsit populo,] – 'for where, with truthful presence, it once shone forth upon your people,' [gratior it dies et soles melius nitent.] – 'the day passes more pleasantly and the sunlight shines much brighter.' If Augustus is the real subject of this ode this very fulsome praise is strange indeed.One would have expected either an admonition or a definite reprimand. Augustus was away from Rome for about three years, initially in Gaul and then in Spain and the gist of Horace's words would have been expected to reflect that patience was wearing thin! Augustus is clearly abrogating his responsibilities.

[Ut mater iuvenem, ... vocat ... dulci distinet a domo] – 'So a mother, who calls for the youth kept from his beloved home,' [flatu Carpathii trans maris aequora cunctamen ... curvo ... faciem litore] – 'detained upon a beautiful curving shore across the smooth Carpathian Sea for far longer than a year,' [spatio longius annuo] – 'for far longer than a year' [votis ominibusque et precibus ... ... nec ... ... demovet] – 'Neither with vows, exhortations and prayers is he able to be moved' [sic desideris icta fidelibus] – 'so with grief for his absence the lyre strings are struck.' [quaerit patria Caesarem] – ' In a similar vein the fatherland enquires from Caesar.'

The word order for these two stanzas has been intermixed so that sense can be made of the context. Up to this point questions might fairly be asked; is Caesar the subject or is the 'young man' someone else entirely? Does quaerit patria Caesarem serve to introduce him and is this phrase intended to set up a Substantival Clause conditiong the staements in the next two stanzas?

Episode 2

TUTUS*BOS*ETENIM*RURA*PERAMBULAT**

NUTRIT*RURA*CERES*ALMAQUE*FAUSTITAS**

PACATUM*VOLITANT*PER*MARE*NAVITAE**

CULPARI*METUIT*FIDES**

NULLIS*POLLUITUR*CASTA*DOMIS*STUPRIS**

MOS*ET*LEX*MACULOSUM*EDOMUIT*NEFAS**

LAUDANTUR*SIMILI*PROLE*PUERPERAE**

CULPAM*POENA*PREMIT*COMES**Ö

[Tutus bos etenim rura perambulit,] – 'Does the countryside, having been truly made safe, the oxen perambulate,' [nutrit rura Ceres almaque Faustitas,] – 'Do Ceres and propitious Faustitas nourish the farms,' [pacatum volitant per mare navitae;] – ' Do sailors travel swiftly across a peaceful sea;' [culpari metuit fides,] – 'Does fidelity fears to be blamed,' [nullis polluitur casta domus stupris,] – 'is no chaste house is being polluted by debauchery,' [mos et lex maculosum edomuit nefas,] – 'has custom and law subdued tainted sin,' [laudantur simili prole puerperae,] – 'are nursing mothers praised for a resembling child,' [culpam poena premit comes.] – 'does attendant punishment press on guilt.' Once again we have a very ambiguous passage of two stanzas. A list of desirable attributes to a civilized and peaceful existence held in question. But why are they couched so? Despite the attempts of some commentators to associate the return of these qualities with the return of Augustus, there is nothing in the text of Horace which says so. They could equally be the result of his absence!

An alternative explanation that may merit consideration is that some form of palace revolution had been attempted during his absence and civil commotion had broken out. This may have ravaged the surrounding countryside and jeopardized peaceful living but the gist of the ode indicates that matters have returned to normal. This may refer to the conspiracy of Fannius Caepio and Varro Murena but this is usually attributed to an earlier period of absence by Augustus. More likely is the disturbance created by Marcus Egnatius Rufus when his bid for consulship was denied. However, we should not rule out that this is pure satire alone.

Episode 3

QUIS*PARTHUM*PAVEAT*QUIS*GELIDUM*SCYTHEN**

QUIS*GERMANIA*QUOS*HORRIDA*PARTURIT**

FETUS*INCOLUMI*CAESARE*QUIS*FERAE**

BELLUM*CURET*HIBRERIAE**

CONDIT*QUISQUE*DIEM*COLLIBUS*IN*SUIS**

ET*VITEM*VIDUAS*DUCIT*AD*ABORES**

HINC*AD*VINA*REDIT*LAETUS*ET*ALTERIS**

TE*MENSIS*ADHIBET*DEUM**

TE*MULTA*PRECE*TE*PROSEQUITUR*MERO**

DEFUSO*PATERIS*ET*LARIBUS*TUUM**

MISCET*NUMEN*UTI*GRAECIA*CASTORIS**

ET*MAGNI*MEMOR*HERCULIS***

[Quis Parthum paveat, quis gelidum Scythen] – 'Who would be afraid of the Parthian, who the frosty Scythian,' [quis Germania quos horrida parturit fetus,] – 'who the shaggy brood which Germany brings forth, [incolumi Caesare?] – 'with Caesar at large?' [Quis ferae bellum curet Hiberiae?] – 'who would pay attention to the war in wild Hiberia? The effect of this stanza depends entirely on the word incolumi and the meaning that is ascribed to it. Cicero used this in conjuntion with calamitas, although in the form of incolumis a calamitate. Therefore, its interpretation as 'uninjured' or 'safe and sound' does not seem to have particular relevance to the circumstances. We do, however, have the circumstance of Augustus being absent and, calamity or not, 'at large' seems a safe alternative. It also has a connotation of the 'loose cannon' variety with all that it might imply in this instance. Can this stanza really be taken at face value? Its irony seems closely coupled with that unleashed in Ode IV, 2,(q.v.); it must surely be seen as mocking in character.

[Condit quisque diem collibus in suis,] – 'Everybody celebrates the day on their hillsides,' [et vitem viduas ducit ad arbores] – 'and marries the vine to widowed trees;' [hinc ad vina redit laetus et alteris te mensis adhibet deum;] – 'From this union wine is extracted and, having rejoiced with one or two, it invites you to the tables of the gods;' [uti Graecia Castoris et magni memor Herculis.] – 'in the same way as Greece, mindful of Castor and great Hercules.' [te multa prece, te prosequitur mero defuso pateris,] – 'to you with many entreaties, strong wine is presented, a libation having been poured from a shallow dish,' [et Laribus tuum miscet numen,] – 'combining with it your divinity and the household gods,' These two stanzas seem to carry on in the same vein of mockery. Augustus is deified in the same casual manner as vines are prepared for fruiting and presumably with the same expectations of rewards to come. He will join the Olympian gods and libations will be poured in the same way. Horace is surely striking a satirical vein here.

Episode 4

LONGAS*O*UTINAM*DUX*BONE*FERIAS**

PRAESRES*HESPERIAE*DICIMUS*INTEGRO**

SICCI*MANE*DIE*DICIMUS*UVIDI**

CUM*SOL*OCEANO*SUBEST***

["Longas o utiname, dux bone, ferias praestes Hesperiae!"] – '"O good leader, would that you may answer for long holidays to the Western Lands!"' [dicimus integro sicci mane die,] – 'we say, early in the day, completely sober,' [dicimus uvidi cum sol Oceano subest.] – 'we say, when the sun is under Oceanus, completely drunk.' The meaning to be extracted from this stanza is by no means clear. It depends on what meaning is ascribed to praestes and to Hesperiae. The latter to Virgil meant western Italy, to Horace it meant Spain and in general use it meant the Western Land. Augustus had long been absent in Spain and it seems logical that it is to this that Horace refers. The passage in quotation marks is either a request or a demand. It could be a request that everybody should have a holiday in Spain or a demand that Augustus should explain why he is so long absent there. Whether drunk or sober, the people want an answer By the general tone of the stanza it is felt that the latter case is implied and that Augustus is being called to account.