Chapter III: Part 3

In composing this modest little book I have had in view principally readers altogether ignorant of Latin, but wishing to know something of a writer lauded enthusiastically by all classical scholars: they will observe that I have not introduced into its pages a single Latin word. I have nourished also the hope that it might be serviceable to those who have forgotten, but would like to recover, the Horace which they learned at school; and to them I would venture to recommend the little copy of the Latin text with Conington's version attached, in "Bell's Pocket Classics." Latinless readers of course must read him in English or not at all. No translation can quite convey the cryptic charm of any original, whether poetry or prose. "Only a bishop," said Lord Chesterfield, "is improved by translation." But prose is far easier to render faithfully than verse; and I have said that either Conington's or Dean Wickham's version of the Satires and Epistles, which are both virtually in prose, will tell them what Horace said, and sometimes very nearly how he said it. On the Odes a host of English writers have experimented. Milton tried his hand on one, with a result reflecting neither Milton nor Horace. Dryden has shown what he could have done but would not do in his tantalising fragment of the Ode to Fortune. Pope transformed the later Ode to Venus into a purely English poem, with a gracefully artificial mechanism quite unlike the natural flow of the original. Marvell's noble "Horatian Ode," with its superb stanzas on the death of Charles I, shows what he might have achieved, but did not attempt. Francis' rendering of 1765 is generally respectable, and in default of a better was universally read and quoted by his contemporaries: once, in the Ode to Pyrrhus (III, xx) he attains singular grace of phrase and metre. Cowper translated two Odes and imitated two more, not without happy touches, but with insertions and omissions that lower poetry into commonplace. Of Calverley's few attempts three are notably good; a resounding line in his "Leuconoe" (I, xi):

Which flings now the flagging sea-wave on the obstinate sandstone reef,

is at once Horatian and Tennysonian; and his "Oh! where is all thy loveliness?" in the later Ode to Lyce has caught marvellously the minor key of tender memory which relieves the brutality of that ruthless flagellation. Mr. Goldwin Smith's more numerous "Bay Leaves" are fashioned all in goodly measure; and his "Blest man who far from care and strife" well transfers to English the breathlessness of Horace's sham pastoral ecstasy. Of more ambitious translators Bulwer Lytton catches now and then the careless rapture of his original; Sir Theodore Martin is always musical and flowing, sometimes miraculously fortunate in his metres, but intentionally unliteral and free. Conington is rigidly faithful, oftentimes tersely forcible; but misses lyrical sweetness. Perhaps, if Marvell, Herrick, Cowley, Prior, the now forgotten William Spencer, Tom Moore, Thackeray, could be alchemized into one, they might combine to yield an English Horace. Until eclectic nature, emulating the Grecian sculptor, shall fashion an archetype from these seven models, the vernacular student, with his Martin and his Conington, sipping from each alternately, like Horace's Matine bee (IV, ii, 27), the terseness of the professor and the sweetness of the poet, may find in them some echo from the ever-shifting tonality of the Odes, something of their verbal felicity, something of their thrilling wistfulness; may strive not quite unsuccessfully, in the words of Tennyson's "Timbuctoo," to attain by shadowing forth the unattainable.

ON THE "WINES" OF HORACE'S POETRY

The wines whose historic names sparkle through the pages of Horace have become classical commonplaces in English literature. "Well, my young friend, we must for once prefer the Falernian to the _vile Sabinum?_" says Monkbarns to Lovel when the landlord of the Hawes Inn at Queensferry brings them claret instead of port. It may be well that we should know somewhat of them.

The choicest of the Italian wines was _Caecuban_, from the poplar-trained vines grown amongst the swamps of Amyclae in Campania. It was a heady, generous wine, and required long keeping; so we find Horace speaking of it as ranged in the farthest cellar end, or "stored still in our grandsire's binns"(III, xxviii, 2, 3; I, xxxvii, 6); it was reserved for great banquets, kept carefully under lock and key: "your heir shall drain the Caecuban you hoarded under a hundred padlocks" (II, xiv, 25). It was beyond Horace's means, and only rich men could afford to drink it; we hear of it at Maecenas' table and on board his galley (I, xx, 9); and it appeared at the costly banquet of Nasidienus (page 27). With the Caecuban he couples the _Formian_ (I, xx, 11), and _Falernian_ (I, xx, 10), grown on the southern slopes of the hills dividing Campania from Latium. "In grassy nook your spirit cheer with old Falernian vintage," he says to his friend Dellius (II, iii, 6). He calls it fierce, rough, fiery; recommends mixing it with Chian wine, or with wine from Surrentum (Sat. II, iv, 55), or sweetening and diluting it with honey from Mount Hymettus (Sat. II, ii, 15). From the same district came the _Massic_ wine, also strong and fiery. "It breeds forgetfulness" (II, vii, 21), he says; advises that it should be softened by exposure to the open sky (Sat. II, iv, 51). He had a small supply of it, which he kept for a "happy day" (III, xxi, 6). The _Calenian_ wine, from Cales near Falernum, was of similar character. He classes it with Caecuban as being too costly for a poor man's purse (I, xx, 10): writing late in life to a friend, promises to find him some, but says that his visitor must bring in exchange an alabaster box of precious spikenard (IV, xii, 17). Next after these Campanian vintages came the _Alban_. He tells Phyllis that he will broach for her a cask of it nine years old (IV, xi, 1). It was offered, too, at Nasidienus' dinner as an alternative to Caecuban; and Horace praises the raisins made from its berries (Sat. II, iv, 72). Of the _Sabine_, poorest of Italian wines, we have spoken (page 23).

The finest Greek wine was _Chian_, thick and luscious; he couples it in the Epode to Maecenas (IX, 34) with _Lesbian_ which he elsewhere (I, xvii, 21) calls "innocent" or mild. _Coan_ wine he mentions twice, commending its medicinal value (Sat. II, iv, 29; II, viii, 9).

In justice to Horace and his friends, it is right to observe that connoisseurship in wine must not be confounded with inebriety. They drank to exhilarate, not to stupefy themselves, to make them what Mr. Bradwardine called _ebrioli_ not _ebrii_; and he repeatedly warns against excess. The vine was to him "a sacred tree," its god, Bacchus, a gentle, gracious deity (I, xviii, 1):

'Tis thine the drooping heart to heal,
Thy strength uplifts the poor man's horn;
Inspired by thee, the soldier's steel,
The monarch's crown, he laughs to scorn.

III, xxi, 17.

"To total abstainers," he says, "heaven makes all things hard" (I, xviii, 3); so let us drink, but drink with moderate wisdom, leave quarrelsomeness in our cups to barbarous Scythians, to brute Centaurs and Lapithae: let riot never profane our worship of the kindly god. We must again remember that they did not drink wine neat, as we do, but always mixed with water. Come, he says to his slave as they sit down, quench the fire of the wine from the spring which babbles by (II, xi, 19). The common mixture was two of water to one of wine; sometimes nine of water to three of wine, the Muses to the Graces; very rarely nine of wine to three of water.

Who the uneven Muses loves,
Will fire his dizzy brain with three times three.
Three once told the Grace approves;
She with her two bright sisters, gay and free,
Hates lawless strife, loves decent glee.

III, xix, 11.

CHRONOLOGY OF HORACE'S LIFE AND WORKS

===========================================
B.C. AGE.

65 Born December 8th.

44 21 Entered as student at Athens.

43 22 In Brutus' army.

{ Philippi.
41 24 {
{ Return to Rome.

38 27 Introduced to Maecenas.

35 30 Satires, Book I.

30 35 Satires, Book II, and Epodes.

23 42 Odes I-III.

20 45 Epistles, Book I.

19 46 Epistles, Book II, ii.

17 48 The Century Hymn.

13 52 Odes, Book IV.

13 52 Epistle to Augustus.

10? 55? Art of Poetry.

8 57 Died November 17th.
===========================================

INDEX

Actium, 53.

Addison, 37, 49.

Aelius, Lamia, 65.

Agrippa, 65.

Anio, 19-21.

Antony, 26.

Archilochus, 13, 19.

Argiletum, 54.

Aristius, Fuscus, 21, 36, 42, 61, 66.

Arnold, Matthew, 55, 68.

Asella, 43.

Asterie, 68.

Athens, 11, 50.

Aufidus, 9, 73.

Augustus, 15, 28, 29, 45, 51, 56, 57, 65, 75, 77, 78.

Bandusia, 10, 72.

Barine, 68.

Brundusium, 17.

Brutus, 12, 13.

Calverley, 80.

Capitoline Hill, 16, 24-26, 65.

Chesterfield, 79.

Clients, 17.

Conington, 46, 81.

Coverley, 11.

Cowper, 80.

De Vere, Sir Stephen, 71.

Digentia, 21.

Dryden, 79.

Eliot, G., 67.

Enipeus, 68.

Epicureans, 11.

Epicurus, 55.

Fanshaw, Sir R., 59.

Florac, 23, 44.

Florus, 40, 44.

Fonteius Capito, 16.

Forum, 24, etc.

Fufius, 34.

Gallio, 36.

Goldwin Smith, 54, 80.

Homer: Iliad, 11, 37, 43;
Odyssey, 44.

Horace: childhood, 10;
studies at Athens, 11;
influence of Brutus, 12;
Philippi, 13;
struggle at Rome, 13;
introduction to Maecenas, 14;
Sabine farm, 19;
publishes Satires, 30;
Epistles, 37;
Epodes, 52;
Odes, 55;
Swan Song, 74;
his death, 29, 77;
editions of his works, 78;
his "wines," 82;
bibliography, 85.

Jews in Rome, 36.

Juvenal, 17, 23, 31.

Lalla Rookh, 69.

Lanciani, Professor, 25.

Lollius, 43, 66.

Lucilius, 13, 31, 48.

Lyce, 80.

Lydia, 69, 70.

Lytton, E. B., 66, 80.

Maecenas, 14, 17, 27-29, 38, 51-54, 62, 64.

Martin, Sir Theodore, 76, 80.

Marvell, 80, 81.

Milman, 38.

Milton, 41, 53, 60-62, 71, 79.

Murena, 66.

Newman, Cardinal, 51.

Ofellus, 32.

Omar Khayyám, 23, 63.

Orbilius, 11.

Pattison, Mark, 72.

Philippi, 13, 32.

Philippus, 34.

Phyllis, 66, 67, 77.

Pindar, 75.

Polemon, 35.

Pope, 27, 41, 44, 47-50, 79.

Pope Leo XIII, 64.

Postumus, 63.

Sabine farm, 17-19, etc.

Satire, origin of, 30.

Scaliger, 71.

Scott, 22, 82, 84.

Secular hymn, 57, 74.

Seneca, 16.

Septimius, 28, 39, 41, 65.

Sewell, R. C., 20.

Shakespeare, 13.

Sosii, 54, 71.

Steele, 37, 39.

Stoics, 11.

St. Beuve, 51.

Tarentum, 24, 65, 72.

Telephus, 66.

Tennyson, 9, 51, 80, 81.

Terentia, 15, 64.

Thackeray, 37, 59, 81.

Tiberius Nero, 39, 74, 75.

Tibullus, 28, 41, 65.

Tibur, 17, 19, 20, 72.

Vacuna, 21.

Varius, 14, 27.

Varus, 20.

Via Sacra, 25, 26.

Virgil, 14, 28, 38, 44.

Wickham, Dean, 47, 79.

Wordsworth, 22, 24, 75.

Xanthius, 66.

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Transcriber's note:

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