Satirists From Rome

"Of all the emperors, one there was whom I recall from boyhood — bold in war, a lawgiver, far-famed in word and deed; he cared much for his country, but cared not for the true faith, and loved a host of gods. False to the Lord, although true to the world."

"More than any other Hellenic thinker, Julian insisted on the virtue of paradox and on the importance of the search for religious truth."

"Julian’s folly was yet more clearly manifested by his death. He crossed the river that separates the Roman Empire from the Persian, brought over his army, and then forthwith burnt his boats, so making his men fight not in willing but in forced obedience. The best generals are wont to fill their troops with enthusiasm, and, if they see them growing discouraged, to cheer them and raise their hopes; but Julian by burning the bridge of retreat cut off all good hope. A further proof of his incompetence was his failure to fulfil the duty of foraging in all directions and providing his troops with supplies. Julian had neither ordered supplies to be brought from Rome, nor did he make any bountiful provision by ravaging the enemy’s country. He left the inhabited world behind him, and persisted in marching through the wilderness. His soldiers had not enough to eat and drink; they were without guides; they were marching astray in a desert land. Thus they saw the folly of their most wise emperor. In the midst of their murmuring and grumbling they suddenly found him who had struggled in mad rage against his Maker wounded to death. Ares who raises the war-din had never come to help him as he promised; Loxias had given lying divination; he who glads him in the thunderbolts had hurled no bolt on the man who dealt the fatal blow; the boasting of his threats was dashed to the ground. The name of the man who dealt that righteous stroke no one knows to this day. Some say that he was wounded by an invisible being, others by one of the Nomads who were called Ishmaelites; others by a trooper who could not endure the pains of famine in the wilderness. But whether it were man or angel who plied the steel, without doubt the doer of the deed was the minister of the will of God. It is related that when Julian had received the wound, he filled his hand with blood, flung it into the air and cried, "Thou hast won, O Galilean." Thus he gave utterance at once to a confession of the victory and to a blasphemy. So infatuated was he."

"Cras ingens iterabimus aequor"

"The gaiety of his spirit and the music of his lyrics will ever fascinate the young; his shrewd common sense will attract the man of the world, whatever be his time of life, his country, or his epoch; and he will always be the most perfect exponent of the actual life and movement of the Augustan age."

"We owe to Horace a precious store of pointed aphorisms and shrewd comments on life, which, apart from all controversies about his place in poetry, must ever establish a kind of personal relation with his reader, and must have a permanent (perhaps an increasing) value for the world. His odes, moreover, as regards diction and metrification, are a marvelously successful experiment. Whatever may be thought about the meaning which underlies them, their form is perfection itself, and they defy imitation. No attempt to reproduce their effect in Latin or in any other language has met with even a moderate measure of success."

"But to the modern world, down to this very great date, Horace is almost an idol. He has forged a link of union between intellects so diverse as those of Dante, Montaigne, Bossuet, Lafontaine, and Voltaire, Hooker, Chesterfield, Gibbon, Wordsworth, and Thackeray. Mystic and atheist, scoffer and preacher, recluse and leader of fashion have in Horace one subject on which they are sympathetic with each other. Gibbon never traveled without a copy of his poems in his pocket; Hooker fled with his Horace to the fields from the reproaches of a railing wife; Thackeray is content if his hero, the future man of the world, has enough Latin on leaving school "to quote Horace respectably through life." Indeed, a certain modicum of Horace is often the remnant of classic lore that the average Englishman and Irishman care to carry with them into the arena of active life. A fancied slight to the memory of Horace is resented in England as a personal insult, and a visit to Italy is nothing unless you have done your duty to the shrine of the poet."

"We have seen that it is still a debated question whether Horace was a poet. Whatever the answer to that question may be, and whether it be considered a question which requires to be asked or not, it cannot be denied that he possesses in perfection the mechanical requisites for the gay art, an exquisite ear for rhythm, and curious felicity of expression. And while we must deny to him the genuine ardour which makes the passion of Catullus breathe and burn, we cannot but recognize in him qualities which will secure for him the admiration and love of every lover of literature, as long as there exists in the minds of men a sympathy with an honest, manly, and cultured spirit, a genial friendliness, sound common-sense, and urbane self-respect."

"The best Genius and most Gentleman-like of Roman Poets."

"His chief claim to literary originality is not that on which he himself rested his hopes of immortality,—that of being the first to adapt certain lyrical metres to the Latin tongue,—but rather that of being the first of those whose works have reached us who establishes a personal relation with his reader, speaks to him as a familiar friend, gives him good advice, tells him the story of his life, and shares with him his private tastes and pleasures,—and all this without any loss of self-respect, any want of modesty or breach of good manners, and in a style so lively and natural that each new generation of readers might fancy that he was addressing them personally and speaking to them on subjects of everyday modern interest."

"Of the lyric poets, Horace is almost the only one worth reading; he can be lofty sometimes, and yet he is also full of charm and grace, versatile in his Figures, and felicitously daring in his choice of words."

"Horace is not satisfied with some superficial vividness; that would betray his sense; he sees further and more clearly into his subject: to describe itself his mind goes fishing and ferreting through the whole treasure-house of words and figures of speech; as his concepts surpass the ordinary, it is not ordinary words that he needs."

"Horace is addressing men accustomed to deal with men—men formed in the vigorous school of public life; and though now reposing perhaps from those more solid and important cares, maintaining that practical energy of character by which they had forced their way to eminence. That sterner practical genius of the Roman people survived the free institutions of Rome; the Romans seemed, as it were, in their idlest moods, to condescend to amusement, not to consider it, like the Greek, one of the common necessities, the ordinary occupations of life. Horace, therefore, has been, and ever will be, the familiar companion, the delight, not of the mere elegant scholar alone, or the imaginative reader, but, we had almost written, the manual of the statesman and the study of the moral philosopher. Of Rome, or of the Roman mind, no one can know anything who is not profoundly versed in Horace; and whoever really understands Horace will have a more perfect and accurate knowledge of the Roman manners and Roman mind than the most diligent and laborious investigator of the Roman antiquities."

"His mind was by no means speculative. His was the plain, practical philosophy of common sense... the wisdom of Horace—it may be said without disparagement, for it was the only real attainable wisdom—was that of the world."

"As compared with the highest lyric poetry, the Odes of Horace are greatly deficient; but as occasional pieces inspired by friendship, by moral sentiment, or as graceful and finished love-verses, they are perfect; their ease, spirit, perspicuity, elegance, and harmony compensate, as far as may be, for the want of the nobler characteristics of daring conception, vehemence, sublimity, and passion."

"The mingling intellectual elements blend together, even in more singular union, in the mind of the Poet. Grecian education and tastes have not polished off the old Roman independence; the imitator of Greek forms of verse writes the purest vernacular Latin; the Epicurean philosophy has not subdued his masculine shrewdness and good sense to dreaming indolence. In the Roman part of his character he blends some reminiscences of the sturdy virtue of the Sabine or Apulian mountaineers, with the refined manners of the city."

"The influences which formed his moral and poetical character, are the prevalent modes of feeling and thought among the people, who had achieved the conquest of the world, and, weary of their own furious contentions, now began to slumber in the proud consciousness of universal empire. In him as in an individual example appears the change which took place in the fortunes, position, sentiments, occupations, estimation, character, mode of living, when the Roman, from the citizen of a free and turbulent republic, became the subject of a peaceful monarchy."

"What harmony can there be between Christ and the devil? What has Horace to do with the Psalter?"

"When I was a boy I knew the Odes of Horace backwards and forwards, and when I came to manhood year by year those odes came knocking at the door of my heart at the most unexpected times and places."

"Note that Horace wrote four different kinds of poems on account of the four ages, the Odes for boys, the Ars Poetica for young men, the Satires for mature men, the Epistles for old and complete men."

"Ars longa, vita brevis."

"Adsit Regula, peccatis quæ pœnas irroget æquas Ne scutica dignum horribili sectere flagello."

"Absentem qui rodit amicum, Qui non defendit alio culpante, solutos Qui captat risus hominum, famamque dicacis; Fingere qui non visa potest, commissa tacere Qui nequit, hic niger est, hunc tu, Romane, caveto."

"Ab ovo Usque ad mala."

"Abnormis sapiens crassaque Minerva."

"Nec satis apparet, cur versus factitet."

"Mediocribus esse poetis Non homines, non di, non concessere columnae."

"Indignor quandoque bonus dormitat Homerus;"

"Sunt delicta tamen quibus ignovisse velimus."

"... Siquid tamen olim scripseris, in Maeci descendat iudicis auris et patris et nostras, nonumque prematur in annum membranis intus positis; delere licebit quod non edideris; nescit uox missa reuerti."

"Omne tulit punctum qui miscuit utile dulci, lectorem delectando pariterque monendo."

"Quidquid praecipies, esto brevis, ut cito dicta percipiant animi dociles teneantque fideles: omne supervacuum pleno de pectore manat."

"Grais ingenium, Grais dedit ore rotundo Musa loqui, præter laudem nullius avaris. . ."

"Scribendi recte sapere est et principium et fons."

"Et quae Desperat tractata nitescere posse relinquit."

"In medias res."

"Parturient montes, nascetur ridiculus mus."

"Nec verbum verbo curabis reddere fidus Interpres."

"Difficile est proprie communia dicere."

"Format enim Natura prius nos intus ad omnem Fortunarum habitum, juvat, aut impellit ad iram, Aut ad humum moerore gravi deducit, et angit."

"Si vis me flere, dolendum est primum ipsi tibi."

"Non satis est pulchra esse poemata; dulcia sunto Et, quocumque uolent, animum auditoris agunto."

"Brevis esse laboro, obscurus fio."

"Inceptis gravibus plerumque et magna professis purpureus, late qui splendeat, unus et alter adsuitur pannus."

"Natales grate numeras?"

"Singula de nobis anni praedantur euntes."

"Graecia capta ferum victorem cepit et artes intulit agresti Latio."

"Interdum volgus rectum videt, est ubi peccat."

"Dulcis inexpertis cultura potentis amici; Expertus metuit."

"Nam tua res agitur, paries cum proximus ardet."