BOOKTEXT4

Ode 2 – Pindarum quisquis studet aemulari, Iulle,:-

Although this ode is addressed to Iullus Antonius, the son of Marcus Antonius, it is almost certainly aimed at Augustus. Iullus was a second son of Antony and his mother was Fulvia. In 21 B.C. he married Marcella, daughter to Octavia, became praetor in 13 B.C. and consul in 10 B.C.. In 7 B.C. he became proconsul of Asia but in 2 B.C. he committed suicide, having been condemned to death for adultery with Julia and for attempting to acquire supreme power. He is credited with having written twelve books of verse on the subject of Diomedia and others for which no reference has survived.

The ostensible reason for this ode is the wish, by Iullus Antonius, to have an ode written to welcome Augustus on his return from Gaul after his 'victory' over the Sygambri. This was a German tribe who had crossed the Rhine into Gaul and inflicted a defeat on the proconsul, Marcus Lollius, in which the Eagle of Legio V Alaudae was lost. The subsequent, so–called victory of Augustus was non existent for the Sygambri had merely retreated before Augustus had even arrived, – 'but before he arrived on the scene of the trouble, the Germans had withdrawn across the Rhine' Horace – Fraenkel 433, 5/6. Augustus did not follow them and inflict any retribution but it would seem that Iullus had suggested that Horace write a victory ode in the style of Pindar. Horace, replying with this ode, suggests otherwise while, at the same time, taking the opportunity to belittle Augustus and the whole affair. He is not really unkind to Iullus himself but does take him to task for his effrontery in mentioning the great Pindar in relation to praising Augustus. However, Augustus did not return immediately to Rome and was absent for a further two years, carrying out administrative duties in Gaul and Spain

On his return to Rome the Senate decreed that an altar to the Peace of Augustus should be erected on the Campus Martius to celebrate the original resolution of the Sygambriam problem. Whether this ode can be dated as having been written to celebrate the expected return in 16 B.C. or the actual return in 13 B.C. is not clear.

However, Horace writes to Iullus, through the ode, claiming firstly that no one can emulate Pindar and to try would be foolish. Secondly he claims that he himself is unworthy to even try to write a suitable ode to Augustus and that Iullus, on his past record as a poet, is far more suitable. Lastly he sketches out just how this ode might sound and the events that would surround its first public performance when Augustus receives his triumph from the Senate and the people of Rome..

It is extremely difficult to accept this ode at face value. There is a tongue–in–cheek feel about it. The flattery seems far too heavy to be sustained by the grammatical elegance with which the ode is constructed. If we consider it quite objectively it is easy to see that, disregarding the blatant sycophancy, a sustained thread of satire can be detected. Consider the structure carefully. The first episode begins with a paean of praise for Pindar and then lists the subjects and their deeds that his magnificent poetry illuminates – gods, kings, the progeny of gods. the great athletes, the great horsemen, the heroes and the deaths of the Centaurs and the Chimaera. We must be expected to contrast that with the proposed subject of Iullus's intended 'Pindaric' ode, Augustus, and the supposed achievement that is to be celebrated. The second episode is cloaked in mock humility. Horace, the composer of the Centennial Hymn saying that he is unsuitable for the task while Iullus, the dilettante composer of a large, possibly dull, epic is eminently so. The third episode is in mock seriousness. The day of the triumph, the anxious Senate, the people, amongst whom Horace numbers himself, lining the streets, the extravagant sacrifices to which Horace will contribute a stray calf that is eating him out of house and home and finally, the reading of the 'victory' ode by the son of Mark Antony! We must be prepared to examine the text of this ode very carefully indeed.

By the same argument it is also difficult to accept Fraenkel's explanation for this complex ode. He is also prepared to regard it as consisting of three episodes but has to admit that Horace seems to have changed his mind halfway through its composition. He concedes that Horace defines the parameters of the task by describing the immensity of Pindar's talent but then decides that Horace turns the ode into a recusatio by insisting his own unsuitability as against the eminent suitability of Iullus. It is here that Fraenkel seems to lose touch with the reality of what is plainly happening. Modest as Horace is, he is an acknowledged professional poet at the height of his powers and to make a statement such as this cannot be taken seriously. At best it must be taken as a humorous aside; at worst a ascerbic comment on the qualities of the poet and the virtues of the subject. However, for the third episode, Fraenkel admits to an 'extraordinary turn' on Horace's part. He has decided, apparently, that 'What he had come to feel for him .... was not fit to be clad in the purple of a magnificent artistic convention,' but in 'the language in which that devotion was ... from the heart of the common man.' Horace pp. 439/40 Fraenkel 1957. As an explanation for these final six stanzas, Fraenkel's reasoning must be regarded as naive and completely at odds with what is being said. Indeed, why bother to write anything at all if one is going to lose oneself in the crowd halfway through? This would not be taking a low profile on the part of Horace, it would be obliterating oneself altogether!

Could this ode be considered as an outright attack on Augustus disguised as a homily to the erstwhile dilettante poet, Iullus Antonius? Whether he had in fact suggested to Horace that a Pindaric ode should be written to Augustus is immaterial. He would hardly have denied it, given the merit of the suggestion in the first place or the backhanded accolade given to him by Rome's most famous poet. It is sufficient to say that it gave Horace an excuse and a platform to perform a piece of delicate poetical surgery on the inflated ego of Augustus. The ode is full of famous names and famous deeds. Augustus could not complain of the company in which he had been placed.

The insults to Augustus are so elusive as to seem to be the good natured chaff amongst good friends. Barbed remarks that have to be shrugged off in the name of good fellowship. Yet the debacle of the Sygambrian retreat is mentioned, the wholly spurious nature of the resulting victory celebrations exposed and the pusillanimity of the Senate and prominent citizens in their gifts and false praise. Horace aligns himself with the general public and accepts it at face value with a wicked sense of fun.

The ode is noteworthy for the paean of praise that Horace lavishes on the memory of Pindar and the salutary lesson that he administers to Iullus Antonius on the merit of great poetry. The scathing references to Augustus occur as the main thrust of the ode almost as if by accident but the final stanza, however, is completely unequivocal. It is a stinging rebuke on the true nature of propaganda. The final line, 'is ignominy to be disguised thus', is remarkable for its vehemence. The fact that it emerges from a gentle reference to a calf's face being comparable to that of the newly emerging moon, makes it doubly evocative.

This ode consists of fifteen four line stanzas in the metre of Sapphics. The ode is divided into three episodes. The first six stanzas are devoted to the greatness of Pindar; the next three to the poetical status of Horace and Iullus Antonius and the final six stanzas the the real subject of the ode, Augustus himself.

Episode 1

PINDARUM*QUISQUIS*STUDET*AEMULARI**

IULLE*CERATIS*OPE*DAEDALEA**

NITITUR*PINNIS*VITREO*DATURUS**

NOMINA*PONTO***

[Pindarum quisquis studet aemulari, Iulle,] A rather deceptive line, in the vocative, addressing the ode to Iullus but containing a sting in the tail. Aemulari is the present infinitive of aemulor, which is a strange choice of verb. Metrical considerations aside, imitorwould have been a better choice After all, this is what Iullus intends, to imitate the master. Horace draws a fine distinction. The latter is to imitate closely, as in style, whereas the former extends the meaning to encompass the way in which a style is used. Was this distinction intended by Horace? – 'Whomsoever studies to rival Pindar, Iullus,' Does it imply a covert warning, in addition to an overt one? As if to say, imitate Pindar by all means but only do so about subjects as worthy of praise as his! [ceratis ope Daedalea nititor pinnis,] A topical Pindaric allusion carrying a warning. Daedalus warned his son Icarus not to fly too near the sun lest the wax that held his wings together might melt. Daedalus survived, his son did not and fell into the sea. Horace here seems to identify himself as the Daedalus of this situation. – 'he is ascending on wings having been smeared in wax with the help of Daedalus,'. [vitreo daturus nomina ponto.] This gives us the corollary to such a warning and completes the Pindaric allusion. – 'about to give a name to a glittering sea.'

Episode 2

MONTE*DECURRENS*VELUT*AMNIS*IMBRES**

QUEM*SUPER*NOTAS*ALUERE*RIPAS**

FERVET*IMMENSUSQUE*RUIT*PROFUNDO**

PINDARUS*ORE**

LAUREA*DONANDUS*APOLLINARI**

SEU*PER*AUDACIS*NOVA*DITHYRAMBOS**

VERBA*DEVOLVIT*NUMERISQUE*FERTUR**

LEGE*SOLUTIS**

SEU*DEOS*REGESQUE*CANIT*DEORUM**

SANGUINEM*PER*QUOS*CECIDERE*IUSTA**

MORTE*CENTAURI*CECIDIT*TREMENDAE**

FLAMMA*CHIMAERAE**

SIVE*QUOS*ELEA*DOMUM*REDUCIT**

PALMA*CAELESTIS*PUGILEMVE*EQUOMVE**

DICIT*ET*CENTUM*POTIORE*SIGNIS**

MUNERE*DONAT**

FLEBILI*SPONSAE*IUVENEMVE*RAPTUM**

PLORAT*ET*VIRIS*ANIMUMQUE*MORESQUE**

AUREOS*EDUCIT*IN*ASTRA*NIGROQUE**

INVIDET*ORCA***

[Monte decurrens velut amnis, imbres] Horace begins, not by praising Pindar but by pointing out the pitfalls. – 'Even as with a mountain stream rushing down, storm lashed,'. [quem super notas aluere ripas,] – Aluere must surely serve to underline the inability of Iullus to restrain himself within the bounds of Pindar's style. Horace, with his demonstrable reverence for Pindar, would hardly accuse him of swelling out of control! – 'you may swell over the limits of the banks within which,' [Fervet immensusque ruit profundo Pindarus ore,] This would seem to confirm this supposition, Pindar reaching depths rather than overflowing limits – 'Pindar, with profound voice rushes on and reaches immeasurable depths,'

[Laurea donandus Apollinari,] – 'To be presented with Apollo's laureate crown,' [seu per audaces ... dithyrambos ... devolvit ... numeris ... lege solutis] – 'having set free the restrictions on poetical metres, whether he is rolling off audacious dithyrambs' [nova ... verba ... –que fertur] – ' and bringing in new words.'

[Seu deos regesque canit, deorum sanguinem ... justa,] Here, reges is taken as the second person, future active as a corollary of Horace continuing to pursue the comparison between the style of Iullus as against that of Pindar. Sanguinem would then indicate the bad side of the behaviour of the gods. – 'Or he tells of the god's thirst for blood while you will show the gods in a just light,'. [per quos cecidere ... morte Centauri,] – 'through which the Centaurs fell to death,' [cecidit tremendae flamma Chimaerae] Horace makes play on caedo in the perfect active against cado in the perfect deponent. – 'and the fire of the terrible Chimaera was put out,'

[Sive quos ... caelestes pugilemve equumve dicit] – ' or tells when a superhuman athlete or horseman' [Elea domum reducit palma] – 'brings back home the Elean palm,' [et centum potiore signis munere donat, flebili sponsae] – 'to an emotional bride and presents her with a gift more precious than a hundred statues,'

[... ... iuvenemve raptum plorat ... vires –que moresque aureos] – 'Or laments a golden natured youth torn from life,' [et ... animum ... educit in astra nigroque invidet orco.] – 'and raises up the spirit to the skies and begrudges the dark underworld.'

Episode 3

MULTA*DIRCAEUM*LEVAT*AURA*CYCNUM**

TENDIT*ANTONI*QUOTIENS*IN*ALTOS**

NUBIUM*TRACTUS*EGO*APIS*MATINAE**

MORE*MODOQUE**

GRATA*CARPENTIS*THYMA*PER*LABORUM**

PLURIMUM*CIRCA*NEMUS*UVIDIQUE**

TIBURIS*RIPAS*OPEROSA*PARVOS**

CARMINA*FINGO**

CONCINES*MAIORE*POETA*PLECTRO**

CAESAREM*QUANDOQUE*TRAHET*FEROCIS**

PER*SACRUM*CLIVUM*MERITA*DECORUS**

FRONDE*SYGAMBROS***

[Multa Dircaeum levat aura cycnum,] – ' A mighty wind elevates the Dircaean Swan,' [tendit, Antoni, quotiens in altos nubium tractus.] – 'so often he reaches into the heights, Antonius, having drawn away the veil of clouds; [ego apis Matinae more modoque,] – 'I, in the style and manner of the Matinaean bee,

[Grata carpentis thyma per laborem plurimum,] – 'sucking out the nectar from the grateful thyme by the utmost labour,' [circa nemus uvidique Tiburis ripas] – 'around the grove and the moist banks of Tibuli,' [operosa parvus carmina fingo.] – 'in a small way, I fashion painstaking poetry.'

[quandoque trahet ferocis per sacrum clivum ... ... ... Sygambros] – 'And when he drags the warlike Sygambri along the Sacred Way,' [merita decorus fronde] – 'having been awarded a fitting laurel crown.' It is suggested that a change in the word order of this stanza be contemplatedin order to make sense of the following stanza. [Concines maiore poeta plectro Caesarem,] – 'You, a much greater poet, will sing the praises of Caesar with lyrical poetry, thus:–'

Episode 4

QUO*NIHIL*MAIUS*MELIUSVE*TERRIS**

FATA*DONAVERE*BONIQUE*DIVI**

NEC*DABUNT*QUAMVIS*REDEANT*IN*AURUM**

TEMPORA*PRISCUM**

CONCINES*LAETOSQUE*DIES*ET*URBIS**

PUBLICUM*LUDUM*SUPER*INPETRATO**

FORTIS*AUGUSTI*REDITU*FORUMQUE**

LITIBUS*ORBUM**

TUM*MEAE*SI*QUID*LOQUAR*AUDIENDUM**

VOCIS*ACCEDET*BONA*PARS*ET*O*SOL**

PULCER*O*LAUDANDE*CANAM*RECEPTO**

CAESARE*FELIX**

TEQUE*DUM*PROCEDIS*IO*TRIUMPHE**

NON*SEMEL*DICEMUS*IO*TRIUMPHE**

CIVITAS*OMNIS*DABIMUSQUE*DIVIS**

TURA*BENIGNIS**

TE*DECEM*TAURI*TOTIDEMQUE*VACCAE**

ME*TENER*SOLVET*VITULUS*RELICTA**

MATRE*QUI*LARGIS*IUVENESCIT*HERBIS**

IN*MEA*VOTA**

FRONTE*CURVATOS*IMITATUS*IGNIS**

TERTIUM*LUNAE*REFERENTIS*ORTUM**

QUA*NOTAM*DUXIT*NIVEUS*VIDERI**

CETERA*FULVOS***

[Quo nihil maius meliusve terris fata donavere bonique divi,] – '"The fates have not presented to the world at any time a greater or better example of a good leader,' It should be noted here that this whole stanza consists, not of Horace's own words, but the words that he would put in the mouth of Iullus at the victory celebrations! [nec dabunt, quamvis redeant in aurum tempora priscum.] – 'Nor will they ever do so, however much the ancient golden times may be recalled"'

[Concines laetosque dies et urbis publicum ludum] – 'and you will also praise the festive day and of the city's public game' [super impetrato fortis Augusti reditu] – 'having obtained from above the return of brave Augustus' [forumque litibus orbum.] – 'and forum free from contention.' Once again this stanza must be examined critically for what is said rather than what is apparently conveyed. For instance a 'forum free from contention' can be seen as a double entendre. It can be taken to mean a holiday for the day ofthe triumph or it can mean that, with Augustus back in town, no one will dare to argue. 'Having obtained from above' might be construed as the favour of the gods. Equally it could mean an implicit acceptance that the princeps is a law unto himself. 'Festive day and public game' might be taken at face value but, taken cynically, it is in the nature of a 'bread and circus' taunt by which the masses are kept, uncritical, in order.

[siquid loquar audiendum,] – 'If I may say anything for the hearing,' [tum meae ... vocis accedet bona pars,] – 'from part of my voice when the blessed one is approaching,' [et "O sol pulcher, o laudande!"] – '"Oh glorious sun" and "Oh worthy to be praised."' [meae ... vocis ... ... pars canam recepto Caesare felix] – Recepto can be taken to mean 'retreat' or 'withdrawal' in which interpretation it can be seen to be picking up the reference to the Sygambri in a previous stanza. Taking the ablative with the alternative 'o' ending, it can be read as. . 'I may also say, sotto voce, " what a fortunate (Sygambriam) withdrawal for Caesar!"'

[Te... dum procedis, io Triumphe!] – 'From you, when you go to meet him, a hurrah for a Triumph!' [–que ... non semel dicemus, "io Triumphe!"] – 'we will say, "hurrah for a Triumph!", and not only once' [civitas omnis dabimusque divis tura benignis.] – ' and we, all the citizens, will offer incense to the kindly gods.'

[Te decem tauri totidemque vaccae,] – 'From you, ten bulls and just as many cows,' [me tener solvet vitulus, relicta matre] – 'from me, a tender bull calf, having been abandoned by the mother, will be released,' [qui largis juvenescit herbis mea vota,] – 'which, growing to abundant youth on my grass, has been vowed.' Accepting that Horace can only afford a bull calf, why does he tell us that it has been abandoned by its mother? Once again we meet a double entendre. Is the gift to be taken at face value or is it to be regarded as a nuisance, a stray bull calf of little market value, that is eating grass meant for cows, the milk yielders.?

[Fronte curvatos imitatus ignis tertium lunae referentis ortum,] – 'With a curved forehead to imitate the light of the new moon, restoring that heavenly body,' [qua notam duxit,] – 'in that way the ignominy will be drawn away,' [niveus videri, cetera fulvus.] – 'seeming to appear snow white, while remaining a dirty yellow.' This is a devastating final stanza, constructed in such a way that the most damning phrase qua notam duxit, almost certainly intended as a final punch line, is quite lost in a sea of platitudes. Quite clearly, Horace is once again referring to the Sygambrian debacle. It was indeed an ignominy for Rome; a legion defeated, an eagle lost and no retribution to follow. The fact that Augustus did not return to Rome and a victory celebration for another two years and that this ode is therefore constructed as a theoretical, 'let us suppose', exercise, does not invalidate this quite magnificent piece of satire.

Ode 13 – Audivere, Lyce, di mea vota, di audivere,:-

The apparent theme is that of an ageing woman, once attractive to men, who now seeks desperately to maintain that attraction. In doing so she makes a pathetic spectacle of herself and becomes a lesson on the inevitability of passing time and its detrimental effect on all things. Horace, in remembering times past and his own encounters with the lady herself, allows himself a mixture of pity and vituperation.

Fraenkel believes this to be a poem about an ageing courtesan, by turns being malicious, nostalgic or philosophical on the effect that time has on youth and beauty. Quinn regards it as a sad reflection on times past, not intentionally cruel but rather an acute observation on remorseless time and a pathetic attempt to deny its reality.

Certainly it commences as such and for the first episode of three stanzas there can be little argument on this score. The first six lines of the second episode seem to continue the theme but from thereon the narrative seems to go off at a tangent as Cinara is mentioned. From there until the end there seems to be some confusion on who is the real subject of the ode.

The ode is now seen to be accusatory and, while directed at Lyce, contains a tribute to long dead Cinara and speaks for the first time on the manner of her passing. The fifth stanza, which contains what has always been regarded, to quote Fraenkel, as 'gems of pure poetry' but undoubtedly a passage of rare lyrical beauty, is now seen to be even more remarkable. In it Horace deftly changes the theme from an observation of Lyce to an eulogy of Cinara in such a way that a superficial reading might not, at once, notice the interchange. Thereafter it explores the death of Cinara and the possibility of Lyce's involvement. There is a bitter, cynical ending in which Horace relives the pain of it all and its coruscating effect on his youth. The ode, from being a seemingly trivial observation on the brutality of time, becomes quite remarkable for its depth of feeling and equally brutal in its observation of human behaviour. Who is Lyce? She is, it seems, a powerful and vindictive woman. Is the name a play on the name for a wolf? Could it possible be Livia?

Ode IV, 13 is of seven four line stanzas and Quinn notes that the metre of the ode is in Asclepiad (d). The ode falls into two episodes, the first of three stanzas and the second of four stanzas of which the first stanza is pivotal to the whole ode.

Episode 1

AUDIVERE*LYCE*DI*MEA*VOTA*DI**

AUDIVERE*LYCE*FIS*ANUS*ET*TAMEN**

VIS*FORMOSA*VIDERI**

LUDISQUE*ET*BIBIS*IMPUDENS**

ET*CANTU*TREMULOA*POTA*CUPIDINEM**

LENTUM*SOLLICITAS*ILLE*VIRENTIS*ET**

DOCTAE*PSALLERE*CHIAE**

PULCRIS*EXCUBAT*IN*GENIS**

INPORTUNUS*ENIM*TRANSVOLAT*ARIDAS**

QUERCUS*ET*REFUGIT*TE*QUIA*LURIDI**

DENTES*TE*QUIA*RUGAE**

TURPANT*ET*CAPITIS*NIVES***

[Audivere Lyce, di mea vota, di audivere, Lyce: fis anus] – 'Lyce, the gods have heard my wish, they have heard Lyce: you are made an old woman;' [et tamen vis formosa videri ludisque] – 'and yet you wish to seem beautiful and playful' [et bibis impudens et cantu tremulo pota Cupidinem lentum sollicitas;] – 'you drink shamelessly and, inebriated, with tremulous song you solicit phlegmatic Cupid;' [ille virentis et doctae psallere Chiae pulchris excubat in genis;] – 'and you may be singing but he keeps watch over clever Chia, blooming with fair cheeks.' Psallere is to be given careful consideration here; Lyce is the one singing, not Chia and there is no clear indication to the presence of a cithara unless it be implied as belonging to Lyce. Horace is thanking the Gods for granting a wish rather than a vow and it would seem that Lyce must have treated Horace badly when she was young and beautiful.

Episode 2

NEC*COAE*REFERUNT*IAM*TIBI*PURPURAE**

NEC*CAR*LAPIDES*TEMPORA*QUAE*SEMEL**

NOTIS*CONDITA*FASTIS**

INCLUSIT*VOLUCRIS*DIES**

QUO*FUGIT*VENUS*HEU*QUOVE*COLOR*DECENS**

QUO*MOTUS*QUID*HABES*ILLIUS*ILLIUS**

QUAE*SPIRABAT*AMORES**

QUAE*ME*SURPUERAT*MIHI**

FELIX*POST*CINARAM*NOTAQUE*ET*ARTIUM**

GRATARUM*FACIES*SED*CINARAE*BREVIS**

ANNOS*FATA*DEDERUNT**

SERVATURA*DIU*PAREM**

CORNICIS*VETULAE*TEMPORIBUS*LYCEN**

POSSENT*UT*IUVENES*VISERE*FERVIDI**

MULTO*NON*SINE*RISU**

DILAPSAM*IN*CINERES*FACEM***

[Nec Coae referunt iam ... purpurae nec cari lapides tempora,] – 'Now no purple Coan garments nor expensive jewels bring back the beauty of that face,' [tibi ... quae semel notis condita fastis ... volucris] – 'for you, the arrogant marks, which once having been established, fleeting time,' [quae ... surpuerat mihi felix post Cinaram notaque] – 'which took away from me wonderful and happy Cinara,' [inclusit volucris dies.] – 'has inserted, day by day.'

It is suggested, that in order to make this last stanza make complete sense, tempora must be read as a personal condition, to mean a tangible physical quality rather than the abstract quality of time itself. This would then continue Horace's reference to the degradation in looks suffered by Lyce which fastis notis would further underline. In this context we should assume that the substantive fastus, to mean 'haughty/arrogant', might have had an adjectival derivative also. Given this, this particular stanza can now be seen to be pivotal since it confirms that this ode is not really intended to be about Lyce after all but a remembrance of long dead Cinara. Its continuation is now specifically about her.

[Quo fugit Venus, heu, quove color? Decens quo motus?] – 'Alas! Where has the beauty or complexion gone? Where the becoming deportment?' [quid habes illius, illius, quae spirabat amores, ... me ] – 'what have you of her, of her, who once breathed passion, for me' [Sed cinarae breves annos Fata dederunt, servatura diu parem cornicis vetulae temporibus Lycen,] – 'but while they were about to preserve Lyce too long, equal to the lifespan of an aged crow, the Fates dedicated a brief span of life to Cinara,' [et artium gratarum facies ... possent ut iuvenes visere fervidi multo non sine risu dilapsam in cineres facem.] – 'so that passionate young men might be able to ponder on, not without grim irony, the ashes that can be made of a beautiful body, disintegrated in a funeral pyre.' These last two stanzas are complex, both in grammar and word order. Horace switches from Lyce to Cinara almost imperceptively so that a superficial reading might indicate that Lyce remains the subject of the ode. This seems to be far from the intention of Horace as he laments the passing of Cinara and the manner of her death.

Ode IV, 9 – Ne forte credas interitura

Marcus Lollius, known to be a novus homo and an intimate of Augustus was consul in 21 BC., proconsul of Macedonia in 19 BC. and was defeated in Gaul by the Sygambrian invasion from Germania in 17 BC.. In this defeat he lost an eagle, probably that of the Legio V Alaudae, but managed to survive the disgrace. He was made counsellor to the young Gaius Caesar, proconsul to the Eastern provinces in 1 BC., and incurred the enmity of Tiberius, who was then in exile, and presumably his mother Livia. He was accused of bribery, fell from favour and died, ostensibly as a suicide, in AD. 2., leaving an extensive fortune.

Velleius Paterculus, writing well after the deaths of both Lollius and Augustus, described Lollius as 'crafty, corrupt and rapacious'. This ode, written at a time when Lollius was still in favour, is curiously ambivalent skirting delicately the boundary between rumour and scandal. However, as much of the writing of Horace in Book IV, it would seem to be more in the nature of thinly disguised satire. Presumably Horace had to be more circumspect.

Two thirds of the ode is spent on describing the merits of past heroes and the famous poets who sang their praises. Only in three of the remaining quatrains are the qualities and deeds of Lollius mentioned and then in very ambiguous terms that delicately pick their way through a financial and legal minefield. The ode bristles with warnings that Horace's words will not be forgotten and that they will tell the truth about Lollius. However, what is truth? To us, now, not having known Lollius nor the time in which he operated, the truth, as narrated by Horace, might be seen to be, superficially at least, quite flattering. However, to contemporary readers of the time, it is doubted whether it would have meant quite the same.

The intention is almost certainly the discomfiture of Marcus Lollius by insinuation and innuendo rather than by outright libel. Constructed in a form in which it is possible to gain a superficial intent of praise; when the complex narrative is really disentangled, the opposite is seen to be the case.

In the first episodes great figures from the past, actual and mythological, are proffered as examples. Knowing that Lollius is the addressee of the ode, one seems to be invited to make a direct comparison. However in the second episode this theme is then explored further and we are shown that even these famous figures from the past had unsavoury sides to their characters.

In the pivotal third episode Horace turns, rather fiercely, upon Lollius with a warning that he too will have his faults remembered and Horace will write the necessary words. There then follows a catalogue of Lollius's activities written down in a very ambiguous manner so as to leave the modern day reader in considerable doubt as to its exact meaning. The general feeling that emerges is that Lollius is really a thoroughly bad lot but that it is not expedient to come out and say so directly. The fourth episode sums up the theme of the ode, highlighting the responsibilties and temptations of high office.

In this ode Horace is on a theme of selfless service to the State and the absolute honesty required for public office. Lollius is an opportunist, a 'new man' very much on the make, who having held many responsible public appointments has profited from all of them by careful manipulation rather than outright dishonesty. Apparently rising from nothing, he amassed a huge wealth and Horace, not unnnaturally, asks from where did this wealth come. Horace writes in terms of mock adulation interspersed with observation and critical questioning and the net result is to highlight a very unsavoury history of blatant corruption.

The ode consists of thirteen four line stanzas, to which Quinn ascribes the metre as Alcaics. It divides into four episodes. The first, of three stanzas, is about the famous poets and how their words have kept alive the deeds of famous people. The second, of four stanzas, is about such famous people. The third, of four stanzas, forms the pivotal point of the whole ode and contains a dire warning from Horace that the deeds of Lollius will not be forgotten either and then goes on to say why. The final episode, of two stanzas, is a general observation of ethics and morals in public office.

Episode 1

NE*FORTE*CREDAS*INTERITURA*QUAE**

LONGE*SONANTEM*NATUS*AD*AUFIDUM**

NON*ANTE*VOLGATAS*PER*ARTIS**

VERBA*LOQUOR*SOCIANDA*CHORDIS**

NON*SI*PRIORES*MAEONIUS*TENET**

SEDES*HOMERUS*PINDARICAE*LATENT**

CEAEQUE*ET*ALCAEI*MINACES**

STESICHORIQUE*GRAVES*CAMENAE**

NEC*SIQUID*OLIM*LUSIT*ANACREON**

DELEVIT*AETAS*SPIRAT*ADHUC*AMOR**

VIVUNTQUE*CONMISSI*CALORES**

AEOLIAE*FIDIBUS*PUELLAE***

[Ne forte credas ... quae longe sonantem natus ad Aufidum ... verba loquor] – 'Not powerful, born by long, full sounding Aufidus, you may believe that the words I speak,' [interitura .. non ante vulgatas per artes ... ... socianda chordis:] – 'not having been made public knowledge before, accompanied with skill by plucked strings, are about to perish:' This is a quite amazing opening stanza, conditioned as much by the hidden threat in what it says as by the powerful Latin of which it it makes use. Lollius could take its meaning either way.

[... si priores Maeonius tenet sedes Homerus,] – 'If Maeoniæn Homer holds the prior seat,' [Non ... Pindaricae latent Ceaeque et Alcaei minaces Stesichorique graves Camenae;] – 'the Muses of Pindar and Ceos and menacing Alcaeus and weighty Stesichorus are not hidden from view;' This second stanza stands to condition the first cataclysmic stanza by pointing out that although Homer wrote epic poetry full of glory but not overly oblivious of blame, others that came after him tended to write very candid accounts on the lives of famous men.

[Nec siquid olim lusit Anacreon delevit aetas;] – 'nor has time destroyed that with which Anacreon entertained himself;' [spirat adhuc amor vivuntque commissi calores Aeoliae fidibus puellae.] – 'still the love of that Aeolian maid breathes and the passions live, to be re–awakened by the lyre.' This beautifully structured stanza reveals another aspect of poetry, the rekindling of emotion rather than action. Lollius is thereby reminded that not only deeds and words are remembered but the manner in which they are carried out.

Episode 2

NON*SOLA*COMPTOS*ARSIT*ADULTERI**

CRINIS*ET*AURUM*VESTIBUS*INLITUM**

MIRATA*REGALISQUE*CULTUS**

ET*COMITES*HELENE*LACAENA**

PRIMUSVE*TEUCER*TELA*CYDONIO**

DIREXIT*ARCU*NON*SEMEL*ILLIOS**

VEXATA*NON*PUGNAVIT*INGENS**

IDOMENEUS*STHENELUSVE*SOLUS**

DICENDA*MUSIS*PROELIA*NON*FEROX**

HECTOR*VEL*ACER*DEIPHOBUS*GRAVIS**

EXCEPIT*ICTUS*PRO*PUDICIS**

CONIUGIBUS*PUERISQUE*PRIMUS**

VIXERE*FORTES*ANTE*AGAMEMNONA**

MULTI*SED*OMNES*INLACRIMABILES**

URGENTUR*IGNOTIQUE*LONGA**

NOCTE*CARENT*QUIA*VATE*SACRO***

[Non sola comptos arsit adulteri ... Helene Lacaena] – 'Not only Lacedaemonian Helen glowed with adulterous love,' [crines et aurum vestibus allitum mirata] – 'having been dazzled by gold encrusted hair and vestments, the regal bearing and attendants,' Considering Lollius's reported rapacity, greed and general aquisitiveness, this less than flattering view of Helen and her motives is a very shrewd and pointed reference!

[Primusve Teucer tela Cydonio direxit arcu;] – 'or Teucer the first to direct an arrow from a Cretan bow;' [non semel Ilios vexata;] – 'nor Ilium shattered a single time;' [non pugnavit ingens Idomeneus Sthenelusve solus dicenda Musis proelia:] – ' nor huge Idomeneus or Sthhenelus alone fought battles to be spoken of by the Muses;' [non ferox Hector vel acer Deiphobus graves excepit ictus pro pudicis coniugibus puerisque primus.] – 'Nor courageous Hector or energetic Deiphobus the first who endures a heavy blow on behalf of virtuous wives and children.'

[Vixere fortes ante Agamemnona multi:] – 'Many great men lived before Agamemnon;' [sed omnes inlacrimabiles urgentur ignotique longa nocte,] – 'but all are beset by endless night, unknown and unlamented,' [carent quia vate sacro.] – 'because they are without a dedicated poet.' The great names roll from Horace's pen and are mentioned, possibly, to give Lollius a false sense of security. Horace omits to mention that all their deeds, good and bad, are recorded and although Agamemnon is heroic in the Trojan War, he also sacrificed his daughter Iphigenia in order to participate. The last stanza is quite miraculous for the beauty of its words; one feels that it is a pity that the recipient of the ode is not more worthy of them.

Episode 3

PAULUM*SEPULTAE*DISTAT*INERTIAE**

CELATE*VIRTUS*NON*EGO*TE*MEIS**

CHARTIS*INORNATUM*SILEBO**

TOTVE*TUOS*PATIAR*LABORES**

INPUNE*LOLLI*CARPERE*LIVIDAS**

OBLIVIONES*EST*ANIMUS*TIBI**

RERUMQUE*PRUDENS*ET*SECUNDIS**

TEMPORIBUS*DUBIISQUE*RECTUS**

VINDEX*AVARAE*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**

VOLTU*PER*OBSTANTIS*CATERVAS**

EXPLICUIT*SUA*VICTOR*ARMA***

[Paulum sepultae distat inertiae celata virtus,] – 'Having been concealed within the grave, little separates the courageous from the cowardly. [Non ego te meis chartis inornatum silebo,] – 'I shall not be silent, my pages having been left unadorned by you,' [totve tuos patiar labores impune, Lolli, carpere lividas obliviones.] – 'nor will I suffer your many undertakings, Lollius, to pass over with impunity into envious forgetfullness.' [Est animus tibi rerumque prudens et secundis temporibus dubiisque rectus,] – 'For you the principle is being very prudent in straightforward matters and circumstances but to be devious in other matters and circumstances.'

[vindex avarae fraudis et abstinens ducentis ad se cuncta pecuniae,] – 'a protector of avaricious fraud, attracting and retaining for himself all bribes,'. [consulque non unius anni,] – 'and not a consul of one year,' One must pause in admiration at this concealed jibe! Horace's original readers must have hugged themselves in amusement. Lollius had accumulated so much wealth without being made consul there was no need for the office at all! [sed quotiens bonus atque fidus judex honestum praetulit utili,] – 'but how often has the good and also faithful judge brought forward an honest verdict?.' [reiecit alto dona nocentium vultu,] – 'how often has he thrown back damaging gifts with haughty mien, [per obstantes catervas explicuit sua victor arma.] – 'how often has he justified his actions by standing against the opposition as a military hero?' Carefully skirting libel, Horace has nevertheless constructed a passage of delightful ambiguity.

Episode 4

NON*POSSIDENTEM*MULTA*VOCAVERIS**

RECTE*BEATUM*RECTIUS*OCCUPAT**

NOMEN*BEATI*QUI*DEORUM**

MUNERIBUS*SAPIENTER*UTI**

DURAMQUE*CALLET*PAUPERIEM*PATI**

PEIUSQUE*LETO*FLAGITIUM*TIMET**

NON*ILLE*PRO*CARIS*AMICIS**

AUT*PATRIA*TIMIDUS*PERIRE***

[Non possidentia multa vocaveris recte beatum;] – 'You would rightfully call acquiring possessions by monetary fines as not playing the game,' [rectius occupat nomen beati, qui deorum muneribus sapienter uti] ' he rightfully attains a name for playing the game who learns to use the opportunities allowed by the Gods more wisely,' [duramque callet pauperiem pati peiusque leto flagitium timet, non ille pro caris amicis aut patria timidus perire.'] – 'and understands what it is to endure harsh poverty, not being afraid to die on behalf of beloved friends and country and fearing dishonour worse than death.' These last two stanzas are not as they seem at first glance. Unscrambled they are quite libellous. What might have been taken as an innocuous observation can also be seen to be an accusation.

Ode 7 – Diffugere nives, redeunt iam gramina campis:-

This ode falls naturally into three parts and is apparently concerned with human mortality as against the annual renewal of nature herself. Imposed upon this is the specific instance of a certain Torquatus who is apparently facing death himself, natural or otherwise. The text concerning nature is extended into a beautiful evocation of the seasons of the year. That concerning human mortality is terse and very much to the point. The final words are couched in allegorical form from which, it is assumed, some connection is to be made.

The ode is addressed to Torquatus in a restrained, almost admonitory manner rather than a friendly tone. Nature can renew its mistakes; Torquatus cannot. Whether the nature of these mistakes lies in the natural course of events or is self inflicted is not made clear. Torquatus is rich enough to leave an estate worth squabbling over, being compared to certain rich men of the past. As well as being rich he is also a friend of powerful men and his present plight might also be the result of this past friendship.

The message that emerges must be that we are all at the mercy of stronger forces, whether of Nature or of the powers that be. It is no good struggling against them, we can only submit and make as best a preparation as possible. There is no possibility of a return to make any correction. Stanza 5 is undoubtedly a pivotal point in this ode, seeming to offer a way out. As though to say, 'The sentence might be remitted if suitable gifts are freely made.' This might seem to be an unduly cynical observation but if this is not a valid assumption, what is the purpose of the inclusion of such an observation? Certainly the terrible words of Stanza 6 warn that once judgement is made there is no going back. In this it seems that Horace might be coupling the judgement of Minos with that of a court of law.

A passing reference in Suetonius could lead us to believe that Torquatus might be the cognomen of a certain Nonius Asprenas rather than that of the gens Manlia. Suetonius mentions a certain young man who fell from his horse during the playing of the Trojan Games and broke his leg. Augustus comforted him and presented him with a gold torque and the cognomen 'Torquatus'. Suetonius names the young man as Nonius Asprenas. Tacitus also mentions a Nonius Asprenas who became Proconsul in Africa and was instrumental in ordering the execution of Agrippa Posthumus after the death of Augustus. There is a further mention of a Nonius Asprenas in Suetonius as being arraigned in a court of law on a charge of poisoning. If this is so, then in this ode Horace is highlighting the cynical use of the courts of justice in manipulating verdicts and of Augustus in benefiting from them. The further words of Suetonius on the subject when he quotes Augustus during that same court hearing. – "I find myself in a quandary", he said, "because to speak in Nonius's defence might seem to be construed as an attempt to shield a criminal, whereas my silence would suggest that I was treacherously prejudicing a friend's chance of aquittal."' One does not have to be overly cynical to read these words as a covert threat that only favours will avoid.

The ode consists of seven four line stanzas arranged into three episodes. The first of three stanzas, the second of two stanzas and the third of two stanzas.

Episode 1

DIFFUGERE*NIVES*REDEUNT*IAM*GRAMINA*CAMPIS**

ARBORIBUSQUE*COMAE**

MUTAT*TERRA*VICES*ET*DECRESCENTIA*RIPAS**

FLUMINA*PRAETEREUNT**

GRATIA*CUM*NYMPHIS*GEMINISQUE*SORORIBUS*AUDET**

DUCERE*NUDA*CHOROS**

IMMORTALIA*NE*SPERES*MONET*ANNUS*ET*ALMUM**

QUAE*RAPIT*HORA*DIEM**

FRIGORA*MITESCUNT*ZEPHYRIS*VER*PROTERIT*AESTAS**

INTERITURA*SIMUL**

POMIFER*AUTUMNUS*FRUGES*EFFUDERIT*ET*MOX**

BRUMA*RECURRIT*INERS***

[Diffugere nives, redeunt iam gramina campis arborisque comae; – 'Already the grass returns to the fields and the foliage to the trees, to disperse the snow;' [Mutat terra vices] – 'the earth mutates the interchange' [et decrescentia ripas flumina praetereunt;] – 'and the rivers, decreasing their flow, pass by between their banks;' [Gratia cum Nymphis geminisque sororibus audet ducere nuda choros.] – 'The Grace, with her twin born sisters and Nymphs, dares to lead the choral dance unclothed.' These six lines evoke the awakening of Spring and are meant to symbolise the rebirth of life and, by implication, that it follows a sort of death. It would seem to be meant as a prelude, philosophical or otherwise, to a dissertation on life itself.

[immortalia ne speres, monet annus et almum quae rapit hora diem.] – 'time, by the hour, snatches away the indulgent day and advises that you may not hope for immortality.' [Frigora mitescunt zephyris,] – 'The coldness becomes milder with the Zephyrs,' [ver proterit aestas interitura,] – spring is driven away by summer, about to perish,' [simul pomifer autumnus fruges effuderit] – 'in the same way, when fruit–bearing autumn will have poured forth its harvest,' [et mox bruma recurrit iners.] – 'and presently, inactive winter hastens back.' We note here that these philosophical thoughts are to be directed to a second person as yet unidentified and the gist of the thoughts are now definitely turned towards questions of mortality. It would therefore seem as though this may also take on a valedictory tone.

Episode 2

DAMNA*TAMEN*CELERES*REPARANT*CAELESTIA*LUNAE**

NOS*UBI*DECIDIMUS**

QUO*PIUS*AENEAS*QUO*DIVES*TULLUS*ET*ANCUS**

PULVIS*ET*UMBRA*SUMUS**

QUIS*SCIT*AN*ADICIANT*HODIERNAE*CRASTINA*SUMMAE**

TEMPORA*DI*SUPERI**

CUNCTA*MANUS*AVIDAS*FUGIENT*HEREDIS*AMICO**

QUAE*DEDERIS*ANIMO***

[Damna tamen celeres reparant caelestia lunae;] – 'However the rapid wanings of the moon restore the heavenly balance;' [nos ubi decidimus,] – 'we, as soon as we fall down,' [quo pius Aeneas, quo Tullus dives et Ancus,] – to where dutiful Aeneas, whither wealthy Tullus and Ancus lie,' [pulvis et umbra sumus.] – 'we are dust and insubstantial shadow.' Horace draws closer to the fact of death and the identity of the dying person to whom this ode now seems firmly dedicated.

[Quis scit an adiciant hodiernae crastina summae tempora di superi?] – 'who knows if the upper Gods may apply tomorrow's time to the sum of today?' [cuncta manus avidas fugient heredis, amico quae dederis animo] – 'for everything, which you may have given up to a dear friend, will escape the greedy hand of the heir.' What might at first seem to be a piece of cynical realism can now be seen as good advice, particularly in the principate of Augustus. As if Horace is saying, 'give as much away as possible since most estates inevitably fall into the hands of Augustus. This interpretation would seem to be a more credible alternative reading to the usual inconclusive assessment.

Episode 3

CUM*SEMEL*OCCIDERIS*ET*DE*TE*SPLENDIDA*MINOS**

FECERIT*ARBITRIA**

NON*TORQUATE*GENUS*NON*TE*FACUNDIA*NON*TE**

RESTITUET*PIETAS**

INFERNIS*NEQUE*ENIM*TENEBRIS*DIANA*PUDICUM**

LIBERAT*HIPPOLYTUM**

NEC*LETHAEA*VALET*THESEUS*ABRUMPERE*CARO**

VINCULA*PIRITHOO***

[Cum semel occideris et de te splendida Minos fecerit arbitria, ... Torquate] – 'Torquatus, when once you are dead and illustrious Minos will have made the judgement concerning you,' [Non ... genus, non te facundia, non te restituet pietas;] – 'no family connection, no eloquence from you, no piety, will bring you back again;' Who is Torquatus; what is his relationship with Horace? Is he the friend mentioned in the Epistles?. Horace was born in the consulship of Lucius Torquatus but this can surely have no connection; he would have attained the age of at least ninety–eight!. Is he indeed the man mentioned twice in Suetonius? However, since Suetonius gives no dates and, in the second reference, no praenomen, it is by no means certain that it was the same person.

[Infernis neque enim tenebris Diana pudicum liberat Hippolytum,] – 'for neither from the darkness of the infernal regions may Diana set free virtuous Hippolytus,' [nec Lethaea valet Theseus abrumpere caro vincula Pirithoo] – 'nor is Theseus strong enough to break from Lethean bonds dear Pirithous.' Horace uses allegory in this last stanza and we must assume that he does so with some purpose.

Both Hippolytus and Pirithous fell foul of the Gods through no fault of their own and both died as a result. According to mythological legend, Hippolytus was killed at the instigation of Poseidon who was fulfilling a wish granted to Theseus, the father of Hippolytus. The crime for which he was wrongly punished was the supposed seduction of Phaedra, his stepmother who hanged herself and left a note incriminating him. However, Hippolytus was innocent, being too chaste to respond to her advances; in fact some legends picture him as completely asexual.

Pirithous, a Lapith and an intimate friend of Theseus, incurred the wrath of Ares by forgetting to invite him to his wedding with Hippodamia, daughter of Butes. This precipitated a fight with the Centaurs and led to their annihilation. Ares bided his time and when Pirithous descended into Hades with Theseus to rescue Persephone, he conspired to having him kept there. Whether these connections help with the actual identification of Torquatus is quite problematical, yet it is conjectured that they would not have been introduced by Horace without good reason. Both Hippolytus and Pirithous might be seen as either homosexual or bisexual. Both were innocent victims of powerful men and of the Gods who had ordered their destruction merely on hearsay. Had Torquatus been an intimate of Augustus and lost favour? Since poisoning was involved, had he been the tool of Livia? Who was poisoned?

While this ode has always been admired for its calm beauty it has always seemed out of place, as such, in Book IV. It contains no honorific save that of Torquatus and even this mention has always been regarded more as a passing example to support the thrust of the ode itself. If a specific reference to a man on trial for his life was intended then the ode assumed a new dimension.