---
title: "The Art of Poetry · Ars Poetica"
author: "Horace"
translator: "Christopher Smart"
languages: [la, en]
shelf: "Classical Latin"
url: https://scriptura.si/works/horace-ars-poetica/
cite: "Horace, tr. Christopher Smart, The Art of Poetry · Ars Poetica. Scriptura (scriptura.si), https://scriptura.si/works/horace-ars-poetica/"
---

# The Art of Poetry · Ars Poetica

*Horace, tr. Christopher Smart*

A verse letter on how to write poetry, read by poets ever since.

> Latin: ed. Christopher Smart, from the Perseus Digital Library (canonical-latinLit, phi0893.phi006, CC BY-SA 4.0).

> English: Christopher Smart, from the Perseus Digital Library (phi0893.phi006.perseus-eng2). Notes are not included.

> Rows follow the references the two texts share (line numbers), cut where both reach the end of a sentence.

## Contents

1. [Lines 1–476](https://scriptura.si/works/horace-ars-poetica/1.md)

## 1. Lines 1–476

Source: https://scriptura.si/works/horace-ars-poetica/1/ · cite a paragraph as https://scriptura.si/works/horace-ars-poetica/1/#p-N

[¶0] If a painter should wish to unite a horse's neck to a human head, and spread a variety of plumage over limbs [of different animals] taken from every part [of nature], so that what is a beautiful woman in the upper part terminates unsightly in an ugly fish below; could you, my friends, refrain from laughter, were you admitted to such a sight Believe, ye Pisos, the book will be perfectly like such a picture, the ideas of which, like a sick man's dreams, are all vain and fictitious: so that neither head nor foot can correspond to any one form. "Poets and painters [you will say] have ever had equal authority for attempting any thing." We are conscious of this, and this privilege we demand and allow in turn: but not to such a degree, that the tame should associate with the savage; nor that serpents should be coupled with birds, lambs with tigers. In pompous introductions, and such as promise a great deal, it generally happens that one or two verses of purple patch-work, that may make a great show, are tagged on; as when the grove and the altar of Diana and the meandering of a current hastening through pleasant fields, or the river Rhine, or the rainbow is described. But here there was no room for these [fine things]: perhaps, too, you know how to draw a cypress: but what is that to the purpose, if he, who is painted for the given price, is [to be represented as] swimming hopeless out of a shipwreck? A large vase at first was designed: why, as the wheel revolves, turns out a little pitcher? In a word, be your subject what it will, let it be merely simple and uniform. The great majority of us poets, father, and youths worthy such a father, are misled by the appearance of right. I labor to be concise, I become obscure: nerves and spirit fail him, that aims at the easy: one, that pretends to be sublime, proves bombastical: he who is too cautious and fearful of the storm, crawls along the ground: he who wants to vary his subject in a marvelous manner, paints the dolphin in the woods, the boar in the sea. The avoiding of an error leads to a fault, if it lack skill. A statuary about the Aemilian school shall of himself, with singular skill, both express the nails, and imitate in brass the flexible hair; unhappy yet in the main, because he knows not how to finish a complete piece. I would no more choose to be such a one as this, had I a mind to compose any thing, than to live with a distorted nose, [though] remarkable for black eyes and jetty hair. Ye who write, make choice of a subject suitable to your abilities; and revolve in your thoughts a considerable time what your strength declines, and what it is able to support. Neither elegance of style, nor a perspicuous disposition, shall desert the man, by whom the subject matter is chosen judiciously. This, or I am mistaken, will constitute the merit and beauty of arrangement, that the poet just now say what ought just now to be said, put off most of his thoughts, and waive them for the present. In the choice of his words, too, the author of the projected poem must be delicate and cautious, he must embrace one and reject another: you will express yourself eminently well, if a dexterous combination should give an air of novelty to a well-known word. If it happen to be necessary to explain some abstruse subjects by new invented terms; it will follow that you must frame words never heard of by the old-fashioned Cethegi: and the license will be granted, if modestly used: and new and lately-formed words will have authority, if they descend from a Greek source, with a slight deviation. But why should the Romans grant to Plautus and Caecilius a privilege denied to Virgil and Varius? Why should I be envied, if I have it in my power to acquire a few words, when the language of Cato and Ennius has enriched our native tongue, and produced new names of things It has been, and ever will be, allowable to coin a word marked with the stamp in present request. As leaves in the woods are changed with the fleeting years; the earliest fall off first: in this manner words perish with old age, and those lately invented flourish and thrive, like men in the time of youth. We, and our works, are doomed to death: whether Neptune, admitted into the continent, defends our fleet from the north winds, a kingly work; or the lake, for a long time unfertile and fit for oars, now maintains its neighboring cities and feels the heavy plow; or the river, taught to run in a more convenient channel, has changed its course which was so destructive to the fruits. Mortal works must perish: much less can the honor and elegance of language be long-lived. Many words shall revive, which now have fallen off; and many which are now in esteem shall fall off, if it be the will of custom, in whose power is the decision and right and standard of language.

> Latin: Humano capiti cervicem pictor equinam
iungere si velit, et varias inducere plumas,
undique conlatis membris, ut turpiter atrum
desinat in piscem mulier formosa superne,
spectatum admissi risum teneatis, amici?
credite, Pisones, isti tabulae fore librum
persimilem, cuius, velut aegri somnia, vanae
fingentur species, ut nec pes nec caput uni
reddatur formae. 'pictoribus atque poetis
quidlibet audendi semper fuit aequa potestas.'
scimus, et hanc veniam petimusque damusque vicissim;
sed non ut placidis coeant inmitia, non ut
serpentes avibus geminentur, tigribus agni.
inceptis gravibus plerumque et magna professis
purpureus, late qui splendeat, unus et alter
adsuitur pannus, cum lucus et ara Dianae
et properantis aquae per amoenos ambitus agros
aut flumen Rhenum aut pluvius describitur arcus;
sed nunc non erat his locus. et fortasse cupressum
scis simulare: quid hoc, si fractis enatat exspes
navibus, aere dato qui pingitur? amphora coepit
institui: currente rota cur urceus exit?
denique sit quodvis, simplex dumtaxat et unum.
maxima pars vatum, pater et iuvenes patre digni,
decipimur specie recti: brevis esse laboro,
obscurus fio; sectantem levia nervi
deficiunt animique; professus grandia turget;
serpit humi tutus nimium timidusque procellae:
qui variare cupit rem prodigialiter unam,
delphinum silvis adpingit, fluctibus aprum:
in vitium ducit culpae fuga, si caret arte.
Aemilium circa ludum faber imus et unguis
exprimet et mollis imitabitur aere capillos,
infelix operis summa, quia ponere totum
nesciet: hunc ego me, si quid componere curem,
non magis esse velim quam naso vivere pravo,
spectandum nigris oculis nigroque capillo.
sumite materiam vestris, qui scribitis, aequam
viribus et versate diu, quid ferre recusent,
quid valeant umeri. cui lecta potenter erit res,
nec facundia deseret hunc nec lucidus ordo.
ordinis haec virtus erit et venus, aut ego fallor,
ut iam nunc dicat iam nunc debentia dici,
pleraque differat et praesens in tempus omittat.
in verbis etiam tenuis cautusque serendis
hoc amet, hoc spernat promissi carminis auctor.
dixeris egregie, notum si callida verbum
reddiderit iunctura novum. si forte necesse est
indiciis monstrare recentibus abdita rerum et
fingere cinctutis non exaudita Cethegis,
continget dabiturque licentia sumpta pudenter,
et nova fictaque nuper habebunt verba fidem, si
Graeco fonte cadent parce detorta. quid autem
Caecilio Plautoque dabit Romanus ademptum
Vergilio Varioque? ego cur, adquirere pauca
si possum, invideor, cum lingua Catonis et Enni
sermonem patrium ditaverit et nova rerum
nomina protulerit? licuit semperque licebit
signatum praesente nota producere nomen.
ut silvae foliis pronos mutantur in annos,
prima cadunt: ita verborum vetus interit aetas,
et iuvenum ritu florent modo nata vigentque.
debemur morti nos nostraque: sive receptus
terra Neptunus classes Aquilonibus arcet,
regis opus, sterilisve diu palus aptaque remis
vicinas urbes alit et grave sentit aratrum,
seu cursum mutavit iniquum frugibus amnis
doctus iter melius: mortalia facta peribunt,
nedum sermonum stet honos et gratia vivax.
multa renascentur quae iam cecidere cadentque
quae nunc sunt in honore vocabula, si volet usus,
quem penes arbitrium est et ius et norma loquendi.

[¶1] Homer has instructed us in what measure the achievements of kings, and chiefs, and direful war might be written. Plaintive strains originally were appropriated to the unequal numbers [of the elegiac]: afterward [love and] successful desires were included. Yet what author first published humble elegies, the critics dispute, and the controversy still waits the determination of a judge. Rage armed Archilochus with the iambic of his own invention. The sock and the majestic buskin assumed this measure as adapted for dialogue, and to silence the noise of the populace, and calculated for action. To celebrate gods, and the sons of gods, and the victorious wrestler, and the steed foremost in the race, and the inclination of youths, and the free joys of wine, the muse has allotted to the lyre. If I am incapable and unskillful to observe the distinction described, and the complexions of works [of genius], why am I accosted by the name of "Poet?" Why, out of false modesty, do I prefer being ignorant to being learned? A comic subject will not be handled in tragic verse: in like manner the banquet of Thyestes will not bear to be held in familiar verses, and such as almost suit the sock. Let each peculiar species [of writing] fill with decorum its proper place. Nevertheless sometimes even comedy exalts her voice, and passionate Chremes rails in a tumid strain: and a tragic writer generally expresses grief in a prosaic style. Telephus and Peleus, when they are both in poverty and exile, throw aside their rants and gigantic expressions if they have a mind to move the heart of the spectator with their complaint.

> Latin: res gestae regumque ducumque et tristia bella
quo scribi possent numero, monstravit Homerus;
versibus inpariter iunctis querimonia primum,
post etiam inclusa est voti sententia compos;
quis tamen exiguos elegos emiserit auctor,
grammatici certant et adhuc sub iudice lis est;
Archilochum proprio rabies armavit iambo;
hunc socci cepere pedem grandesque cothurni,
alternis aptum sermonibus et popularis
vincentem strepitus et natum rebus agendis;
musa dedit fidibus Divos puerosque Deorum
et pugilem victorem et equum certamine primum
et iuvenum curas et libera vina referre:
descriptas servare vices operumque colores
cur ego si nequeo ignoroque poeta salutor?
cur nescire pudens prave quam discere malo?
versibus exponi tragicis res comica non volt;
indignatur item privatis ac prope socco
dignis carminibus narrari cena Thyestae:
singula quaeque locum teneant sortita decentem.
interdum tamen et vocem comoedia tollit
iratusque Chremes tumido delitigat ore;
et tragicus plerumque dolet sermone pedestri,
Telephus et Peleus cum pauper et exsul uterque
proiicit ampullas et sesquipedalia verba,
si curat cor spectantis tetigisse querella.

[¶2] It is not enough that poems be beautiful; let them be tender and affecting, and bear away the soul of the auditor whithersoever they please. As the human countenance smiles on those that smile, so does it sympathize with those that weep. If you would have me weep you must first express the passion of grief yourself; then, Telephus or Peleus, your misfortunes hurt me: if you pronounce the parts assigned you ill, I shall either fall asleep or laugh. Pathetic accents suit a melancholy countenance; words full of menace, an angry one; wanton expressions, a sportive look; and serious matter, an austere one. For nature forms us first within to every modification of circumstances; she delights or impels us to anger, or depresses us to the earth and afflicts us with heavy sorrow: then expresses those emotions of the mind by the tongue, its interpreter. If the words be discordant to the station of the speaker, the Roman knights and plebians will raise an immoderate laugh. It will make a wide difference, whether it be Davus that speaks, or a hero; a man well-stricken in years, or a hot young fellow in his bloom; and a matron of distinction, or an officious nurse; a roaming merchant, or the cultivator of a verdant little farm; a Colchian, or an Assyrian; one educated at Thebes, or one at Argos. You, that write, either follow tradition, or invent such fables as are congruous to themselves. If as poet you have to represent the renowned Achilles; let him be indefatigable, wrathful, inexorable, courageous, let him deny that laws were made for him, let him arrogate every thing to force of arms Let Medea be fierce and untractable, Ino an object of pity, Ixion perfidious, Io wandering, Orestes in distress.

> Latin: non satis est pulchra esse poemata: dulcia sunto
et quocumque volent animum auditoris agunto.
ut ridentibus adrident, ita flentibus adflent
humani voltus. si vis me flere, dolendum est
primum ipsi tibi: tum tua me infortunia laedent,
Telephe vel Peleu; male si mandata loqueris,
aut dormitabo aut ridebo. tristia maestum
voltum verba decent, iratum plena minarum,
ludentem lasciva, severum seria dictu.
format enim natura prius nos intus ad omnem
fortunarum habitum: iuvat aut inpellit ad iram
aut ad humum maerore gravi deducit et angit:
post effert animi motus interprete lingua.
si dicentis erunt fortunis absona dicta,
Romani tollent equites peditesque cachinnum.
intererit multum, Davusne loquatur an heros,
maturusne senex an adhuc florente iuventa
fervidus, et matrona potens an sedula nutrix,
mercatorne vagus cultorne virentis agelli,
Colchus an Assyrius, Thebis nutritus, an Argis.
aut famam sequere aut sibi convenientia finge
scriptor. honoratum si forte reponis Achillem,
inpiger, iracundus, inexorabilis, acer
iura neget sibi nata, nihil non adroget armis.
sit Medea ferox invictaque, flebilis Ino,
perfidus Ixion, Io vaga, tristis Orestes.

[¶3] If you offer to the stage any thing unattempted, and venture to form a new character; let it be preserved to the last such as it set out at the beginning, and be consistent with itself. It is difficult to write with propriety on subjects to which all writers have a common claim; and you with more prudence will reduce the Iliad into acts, than if you first introduce arguments unknown and never treated of before. A public story will become your own property, if you do not dwell upon the whole circle of events, which is paltry and open to every one; nor must you be so faithful a translator, as to take the pains of rendering [the original] word for word; nor by imitating throw yourself into straits, whence either shame or the rules of your work may forbid you to retreat. Nor must you make such an exordium, as the Cyclic writer of old: "I will sing the fate of Priam, and the noble war." What will this boaster produce worthy of all this gaping? The mountains are in labor, a ridiculous mouse will be brought forth. How much more to the purpose he, who attempts nothing improperly "Sing for me, my muse, the man who, after the time of the destruction of Troy, surveyed the manners and cities of many men." He meditates not [to produce] smoke from a flash, but out of smoke to elicit fire, that he may thence bring forth his instances of the marvelous with beauty, [such as] Antiphates, Scylla, the Cyclops, and Charybdis. Nor does he date Diomede's return from Meleager's death, nor trace the rise of the Trojan war from [Leda's] eggs: he always hastens on to the event; and hurries away his reader in the midst of interesting circumstances, no otherwise than as if they were [already] known; and what he despairs of, as to receiving a polish from his touch, he omits; and in such a manner forms his fictions, so intermingles the false with the true, that the middle is not inconsistent with the beginning, nor the end with the middle. Do you attend to what I, and the public in my opinion, expect from you [as a dramatic writer]. If you are desirous of an applauding spectator, who will wait for [the falling of] the curtain, and till the chorus calls out "your plaudits"; the manners of every age must be marked by you, and a proper decorum assigned to men's varying dispositions and years. The boy, who is just able to pronounce his words, and prints the ground with a firm tread, delights to play with his fellows, and contracts and lays aside anger without reason, and is subject to change every hour. The beardless youth, his guardian being at length discharged, joys in horses, and dogs, and the verdure of the sunny Campus Martius; pliable as wax to the bent of vice, rough to advisers, a slow provider of useful things, prodigal of his money, high-spirited, and amorous, and hasty in deserting the objects of his passion. [After this,] our inclinations being changed, the age and spirit of manhood seeks after wealth, and [high] connections, is subservient to points of honor; and is cautious of committing any action, which he would subsequently be industrious to correct. Many inconveniences encompass a man in years; either because he seeks [eagerly] for gain, and abstains from what he has gotten, and is afraid to make use of it; or because he transacts every thing in a timorous and dispassionate manner, dilatory, slow in hope, remiss, and greedy of futurity. Peevish, querulous, a panegyrist of former times when he was a boy, a chastiser and censurer of his juniors. Our advancing years bring many advantages along with them. Many our declining ones take away. That the parts [therefore] belong ing to age may not be given to youth, and those of a man to a boy, we must dwell upon those qualities which are joined and adapted to each person's age. An action is either represented on the stage, or being done elsewhere is there related. The things which enter by the ear affect the mind more languidly, than such as are submitted to the faithful eyes, and what a spectator presents to himself. You must not, however, bring upon the stage things fit only to be acted behind the scenes: and you must take away from view many actions, which elegant descrition may soon after deliver in presence [of the spectators]. Let not Medea murder her sons before the people; nor the execrable Atreus openly dress human entrails: nor let Progne be metamorphosed into a bird, Cadmus into a serpent. Whatever you show to me in this manner, not able to give credit to, I detest.

> Latin: si quid inexpertum scaenae conmittis et audes
personam formare novam, servetur ad imum,
qualis ab incepto processerit, et sibi constet.
difficile est proprie communia dicere, tuque
rectius Iliacum carmen deducis in actus
quam si proferres ignota indictaque primus:
publica materies privati iuris erit, si
non circa vilem patulumque moraberis orbem
nec verbo verbum curabis reddere fidus
interpres nec desilies imitator in artum,
unde pedem proferre pudor vetet aut operis lex,
nec sic incipies, ut scriptor cyclicus olim:
'fortunam Priami cantabo et nobile bellum.'
quid dignum tanto feret hic promissor hiatu?
parturient montes, nascetur ridiculus mus.
quanto rectius hic, qui nil molitur inepte:
'dic mihi, Musa, virum, captae post tempora Troiae
qui mores hominum multorum vidit et urbes.'
non fumum ex fulgore, sed ex fumo dare lucem
cogitat, ut speciosa dehinc miracula promat,
Antiphaten, Scyllamque, et cum Cyclope Charybdim;
nec reditum Diomedis ab interitu Meleagri
nec gemino bellum Troianum orditur ab ovo:
semper ad eventum festinat et in medias res
non secus ac notas auditorem rapit et quae
desperat tractata nitescere posse relinquit
atque ita mentitur, sic veris falsa remiscet,
primo ne medium, medio ne discrepet imum.
tu, quid ego et populus mecum desideret, audi,
si plausoris eges aulaea manentis et usque
sessuri, donec cantor 'vos plaudite' dicat.
aetatis cuiusque notandi sunt tibi mores,
mobilibusque decor naturis dandus et annis.
reddere qui voces iam scit puer et pede certo
signat humum, gestit paribus conludere et iram
colligit ac ponit temere et mutatur in horas.
inberbis iuvenis, tandem custode remoto,
gaudet equis canibusque et aprici gramine campi,
cereus in vitium flecti, monitoribus asper,
utilium tardus provisor, prodigus aeris,
sublimis cupidusque et amata relinquere pernix.
conversis studiis aetas animusque virilis
quaerit opes et amicitias, inservit honori,
conmisisse cavet quod mox mutare laboret.
multa senem circumveniunt incommoda, vel quod
quaerit et inventis miser abstinet ac timet uti,
vel quod res omnis timide gelideque ministrat,
dilator, spe longus, iners avidusque futuri,
difficilis, querulus, laudator temporis acti
se puero, castigator censorque minorum.
multa ferunt anni venientes commoda secum,
multa recedentes adimunt: ne forte seniles
mandentur iuveni partes pueroque viriles:
semper in adiunctis aevoque morabitur aptis.
aut agitur res in scaenis aut acta refertur.
segnius inritant animos demissa per aurem
quam quae sunt oculis subiecta fidelibus et quae
ipse sibi tradit spectator: non tamen intus
digna geri promes in scaenam multaque tolles
ex oculis, quae mox narret facundia praesens:
ne pueros coram populo Medea trucidet
aut humana palam coquat exta nefarius atreus
aut in avem Procne vertatur, Cadmus in anguem.
quodcumque ostendis mihi sic, incredulus odi.

[¶4] Let a play which would be inquired after, and though seen, represented anew, be neither shorter nor longer than the fifth act. Neither let a god interfere, unless a difficulty worthy a god's unraveling should happen; nor let a fourth person be officious to speak. Let the chorus sustain the part and manly character of an actor: nor let them sing any thing between the acts which is not conducive to, and fitly coherent with, the main design. Let them both patronize the good, and give them friendly advice, and regulate the passionate, and love to appease thou who swell [with rage]: let them praise the repast of a short meal, the salutary effects of justice, laws, and peace with her open gates; let them conceal what is told to them in confidence, and supplicate and implore the gods that prosperity may return to the wretched, and abandon the haughty. The flute, (not as now, begirt with brass and emulous of the trumpet, but) slender and of simple form, with few stops, was of service to accompany and assist the chorus, and with its tone was sufficient to fill the rows that were not as yet too crowded, where an audience, easily numbered, as being small and sober, chaste and modest, met together. But when the victorious Romans began to extend their territories, and an ampler wall encompassed the city, and their genius was indulged on festivals by drinking wine in the day-time without censure; a greater freedom arose both to the numbers [of poetry], and the measure [of music]. For what taste could an unlettered clown and one just dismissed from labors have, when in company with the polite; the base, with the man of honor? Thus the musician added new movements and a luxuriance to the ancient art, and strutting backward and forward, drew a length of train over the stage; thus likewise new notes were added to the severity of the lyre, and precipitate eloquence produced an unusual language [in the theater]: and the sentiments [of the chorus, then] expert in teaching useful things and prescient of futurity, differ hardly from the oracular Delphi.

> Latin: neve minor neu sit quinto productior actu
fabula quae posci volt et spectanda reponi.
nec Deus intersit, nisi dignus vindice nodus
inciderit, nec quarta loqui persona laboret.
actoris partis chorus officiumque virile
defendat, neu quid medios intercinat actus
quod non proposito conducat et haereat apte.
ille bonis faveatque et consilietur amice
et regat iratos et amet pacare tumentis,
ille dapes laudet mensae brevis, ille salubrem
iustitiam legesque et apertis otia portis,
ille tegat conmissa Deosque precetur et oret,
ut redeat miseris, abeat fortuna superbis.
tibia non, ut nunc orichalco, vincta tubaeque
aemula, sed tenuis simplexque foramine pauco
adspirare et adesse choris erat utilis atque
nondum spissa nimis complere sedilia flatu;
quo sane populus numerabilis, utpote parvos,
et frugi castusque verecundusque coibat.
postquam coepit agros extendere victor et urbis
latior amplecti murus vinoque diurno
placari Genius festis inpune diebus,
accessit numerisque modisque licentia maior.
indoctus quid enim saperet liberque laborum
rusticus urbano confusus, turpis honesto?
sic priscae motumque et luxuriem addidit arti
tibicen traxitque vagus per pulpita vestem;
sic etiam fidibus voces crevere severis,
et tulit eloquium insolitum facundia praeceps
utiliumque sagax rerum et divina futuri
sortilegis non discrepuit sententia Delphis.

[¶5] The poet, who first tried his skill in tragic verse for the paltry [prize of a] goat, soon after exposed to view wild satyrs naked, and attempted raillery with severity, still preserving the gravity [of tragedy]: because the spectator on festivals, when heated with wine and disorderly, was to be amused with captivating shows and agreeable novelty. But it will be expedient so to recommend the bantering, so the rallying satyrs, so to turn earnest into jest; that none who shall be exhibited as a god, none who is introduced as a hero lately conspicuous in regal purple and gold, may deviate into the low style of obscure, mechanical shops; or, [on the contrary,] while he avoids the ground, affect cloudy mist and empty jargon. Tragedy disdaining to prate forth trivial verses, like a matron commanded to dance on the festival days, will assume an air of modesty, even in the midst of wanton satyrs. As a writer of satire, ye Pisos, I shall never be fond of unornamented and reigning terms: nor shall I labor to differ so widely from the complexion of tragedy, as to make no distinction, whether Davus be the speaker. And the bold Pythias, who gained a talent by gulling Simo; or Silenus, the guardian and attendant of his pupil-god [Bacchus]. I would so execute a fiction taken from a well-known story, that any body might entertain hopes of doing the same thing; but, on trial, should sweat and labor in vain. Such power has a just arrangement and connection of the parts: such grace may be added to subjects merely common. In my judgment the Fauns, that are brought out of the woods, should not be too gamesome with their tender strains, as if they were educated in the city, and almost at the bar; nor, on the other hand, should blunder out their obscene and scandalous speeches. For [at such stuff] all are offended, who have a horse, a father, or an estate: nor will they receive with approbation, nor give the laurel crown, as the purchasers of parched peas and nuts are delighted with. A long syllable put after a short one is termed an iambus, a lively measure, whence also it commanded the name of trimeters to be added to iambics, though it yielded six beats of time, being similar to itself from first to last. Not long ago, that it might come somewhat slower and with more majesty to the ear, it obligingly and contentedly admitted into its paternal heritage the steadfast spondees; agreeing however, by social league, that it was not to depart from the second and fourth place. But this [kind of measure] rarely makes its appearance in the notable trimeters of Accius, and brands the verse of Ennius brought upon the stage with a clumsy weight of spondees, with the imputation of being too precipitate and careless, or disgracefully accuses him of ignorance in his art. It is not every judge that discerns inharmonious verses, and an undeserved indulgence is [in this case] granted to the Roman poets. But shall I on this account run riot and write licentiously? Or should not I rather suppose, that all the world are to see my faults; secure, and cautious [never to err] but with hope of being pardoned? Though, perhaps, I have merited no praise, I have escaped censure. Ye [who are desirous to excel,] turn over the Grecian models by night, turn them by day. But our ancestors commended both the numbers of Plautus, and his strokes of pleasantry; too tamely, I will not say foolishly, admiring each of them; if you and I but know how to distinguish a coarse joke from a smart repartee, and understand the proper cadence, by [using] our fingers and ears.

> Latin: carmine qui tragico vilem certavit ob hircum,
mox etiam agrestis Satyros nudavit et asper
incolumi gravitate iocum temptavit eo quod
inlecebris erat et grata novitate morandus
spectator functusque sacris et potus et exlex.
verum ita risores, ita commendare dicacis
conveniet Satyros, ita vertere seria ludo,
ne, quicumque Deus, quicumque adhibebitur heros,
regali conspectus in auro nuper et ostro,
migret in obscuras humili sermone tabernas
aut, dum vitat humum, nubis et inania captet.
effutire levis indigna tragoedia versus,
ut festis matrona moveri iussa diebus,
intererit Satyris paulum pudibunda protervis.
non ego inornata et dominantia nomina solum
verbaque, Pisones, Satyrorum scriptor amabo
nec sic enitar tragico differre colori,
ut nihil intersit, Davusne loquatur et audax
Pythias, emuncto lucrata Simone talentum,
an custos famulusque Dei Silenus alumni.
ex noto fictum carmen sequar, ut sibi quivis
speret idem, sudet multum frustraque laboret
ausus idem: tantum series iuncturaque pollet,
tantum de medio sumptis accedit honoris.
silvis deducti caveant, me iudice, Fauni,
ne velut innati triviis ac paene forenses.
aut nimium teneris iuvenentur versibus umquam
aut inmunda crepent ignominiosaque dicta.
offenduntur enim, quibus est equus et pater et res,
nec, siquid fricti ciceris probat et nucis emptor,
aequis accipiunt animis donantve corona.
syllaba longa brevi subiecta vocatur Iambus,
pes citus: unde etiam trimetris adcrescere iussit
nomen iambeis, cum senos redderet ictus,
primus ad extremum similis sibi: non ita pridem,
tardior ut paulo graviorque veniret ad auris,
spondeos stabilis in iura paterna recepit
commodus et patiens, non ut de sede secunda
cederet aut quarta socialiter. hic et in Acci
nobilibus trimetris adparet rarus et Enni
in scaenam missos cum magno pondere versus
aut operae celeris nimium curaque carentis
aut ignoratae premit artis crimine turpi.
non quivis videt inmodulata poemata iudex
et data Romanis venia est indigna poetis.
idcircone vager scribamque licenter? an omnis
visuros peccata putem mea, tutus et intra
spem veniae cautus? vitavi denique culpam,
non laudem merui. vos exemplaria Graeca
nocturna versate manu, versate diurna.
at nostri proavi Plautinos et numeros et
laudavere sales, nimium patienter utrumque,
ne dicam stulte, mirati, si modo ego et vos
scimus inurbanum lepido seponere dicto
legitimumque sonum digitis callemus et aure.

[¶6] Thespis is said to have invented a new kind of tragedy, and to have carried his pieces about in carts, which [certain strollers], who had their faces besmeared with lees of wine, sang and acted. After him Aeschylus, the inventor of the vizard mask and decent robe, laid the stage over with boards of a tolerable size, and taught to speak in lofty tone, and strut in the buskin. To these succeeded the old comedy, not without considerable praise: but its personal freedom degenerated into excess and violence, worthy to be regulated by law; a law was made accordingly, and the chorus, the right of abusing being taken away, disgracefully became silent. Our poets have left no species [of the art] unattempted; nor have those of them merited the least honor, who dared to forsake the footsteps of the Greeks, and celebrate domestic facts; whether they have instructed us in tragedy, or comedy. Nor would Italy be raised higher by valor and feats of arms, than by its language, did not the fatigue and tediousness of using the file disgust every one of our poets. Do you, the descendants of Pompilius, reject that poem, which many days and many a blot have not ten times subdued to the most perfect accuracy. Because Democritus believes that genius is more successful than wretched art, and excludes from Helicon all poets who are in their senses, a great number do not care to part with their nails or beard, frequent places of solitude, shun the baths. For he will acquire, [he thinks,] the esteem and title of a poet, if he neither submits his head, which is not to be cured by even three Anticyras, to Licinius the barber. What an unlucky fellow am I, who am purged for the bile in spring-time! Else nobody would compose better poems; but the purchase is not worth the expense. Therefore I will serve instead of a whetstone, which though not able of itself to cut, can make steel sharp: so I, who can write no poetry myself, will teach the duty and business [of an author]; whence he may be stocked with rich materials; what nourishes and forms the poet; what gives grace, what not; what is the tendency of excellence, what that of error.

> Latin: ignotum tragicae genus invenisse Camenae
dicitur et plaustris vexisse poemata Thespis,
quae canerent agerentque peruncti faecibus ora.
post hunc personae pallaeque repertor honestae
Aeschylus et modicis instravit pulpita tignis
et docuit magnumque loqui nitique cothurno.
successit vetus his comoedia, non sine multa
laude; sed in vitium libertas excidit et vim
dignam lege regi: lex est accepta chorusque
turpiter obticuit sublato iure nocendi.
nil intemptatum nostri liquere poetae
nec minimum meruere decus vestigia Graeca
ausi deserere et celebrare domestica facta
vel qui praetextas vel qui docuere togatas.
nec virtute foret clarisve potentius armis
quam lingua Latium, si non offenderet unum
quemque poetarum limae labor et mora. vos, o
Pompilius sanguis, carmen reprehendite, quod non
multa dies et multa litura coercuit atque
praesectum deciens non castigavit ad unguem.
ingenium misera quia fortunatius arte
credit et excludit sanos Helicone poetas
Democritus, bona pars non unguis ponere curat,
non barbam, secreta petit loca, balnea vitat.
nanciscetur enim pretium nomenque poetae,
si tribus Anticyris caput insanabile numquam
tonsori Licino conmiserit. o ego laevus,
qui purgor bilem sub verni temporis horam.
non alius faceret meliora poemata; verum
nil tanti est. ergo fungar vice cotis, acutum
reddere quae ferrum valet exsors ipsa secandi;
munus et officium, nil scribens ipse, docebo,
unde parentur opes, quid alat formetque poetam,
quid deceat, quid non, quo virtus, quo ferat error.

[¶7] To have good sense, is the first principle and fountain of writing well. The Socratic papers will direct you in the choice of your subjects; and words will spontaneously accompany the subject, when it is well conceived. He who has learned what he owes to his country, and what to his friends; with what affection a parent, a brother, and a stranger, are to be loved; what is the duty of a senator, what of a judge; what the duties of a general sent out to war; he, [I say,] certainly knows how to give suitable attributes to every character. I should direct the learned imitator to have a regard to the mode of nature and manners, and thence draw his expressions to the life. Sometimes a play, that is showy with common-places, and where the manners are well marked, though of no elegance, without force or art, gives the people much higher delight and more effectually commands their attention, than verse void of matter, and tuneful trifles. To the Greeks, covetous of nothing but praise, the muse gave genius; to the Greeks the power of expressing themselves in round periods. The Roman youth learn by long computation to subdivide a pound into an hundred parts. Let the son of Albinus tell me, if from five ounces one be subtracted, what remains? He would have said the third of a pound. Bravely done! you will be able to take care of your own affairs. An ounce is added: what will that be? Half a pound. When this sordid rust and hankering after wealth has once tainted their minds, can we expect that such verses should be made as are worthy of being anointed with the oil of cedar, and kept in the well-polished cypress? Poets wish either to profit or to delight; or to deliver at once both the pleasures and the necessaries of life. Whatever precepts you give, be concise; that docile minds may soon comprehend what is said, and faithfully retain it. All superfluous instructions flow from the too full memory. Let whatever is imagined for the sake of entertainment, have as much likeness to truth as possible; let not your play demand belief for whatever [absurdities] it is inclinable [to exhibit]: nor take out of a witch's belly a living child that she had dined upon. The tribes of the seniors rail against every thing that is void of edification: the exalted knights disregard poems which are austere. He who joins the instructive with the agreeable, carries off every vote, by delighting and at the same time admonishing the reader. This book gains money for the Sosii; this crosses the sea, and continues to its renowned author a lasting duration.

> Latin: scribendi recte sapere est et principium et fons.
rem tibi Socraticae poterunt ostendere chartae
verbaque provisam rem non invita sequentur.
qui didicit, patriae quid debeat et quid amicis,
quo sit amore parens, quo frater amandus et hospes,
quod sit conscripti, quod iudicis officium, quae
partes in bellum missi ducis, ille profecto
reddere personae scit convenientia cuique.
respicere exemplar vitae morumque iubebo
doctum imitatorem et vivas hinc ducere voces.
interdum speciosa locis morataque recte
fabula nullius veneris, sine pondere et arte,
valdius oblectat populum meliusque moratur
quam versus inopes rerum nugaeque canorae.
Graiis ingenium, Graiis dedit ore rotundo
Musa loqui, praeter laudem nullius avaris.
Romani pueri longis rationibus assem
discunt in partis centum diducere. 'dicat
filius Albini: si de quincunce remota est
uncia, quid superat? poteras dixisse.' 'triens.' 'eu,
rem poteris servare tuam. redit uncia, quid fit?'
'semis.' an, haec animos aerugo et cura peculi
cum semel imbuerit, speremus carmina fingi
posse linenda cedro et levi servanda cupresso?
aut prodesse volunt aut delectare poetae
aut simul et iucunda et idonea dicere vitae.
quidquid praecipies, esto brevis, ut cito dicta
percipiant animi dociles teneantque fideles:
omne supervacuum pleno de pectore manat.
ficta voluptatis causa sint proxima veris:
ne quodcumque volet poscat sibi fabula credi
neu pransae Lamiae vivum puerum extrahat alvo.
centuriae seniorum agitant expertia frugis,
celsi praetereunt austera poemata Rhamnes:
omne tulit punctum, qui miscuit utile dulci
lectorem delectando pariterque monendo.
hic meret aera liber Sosiis, hic et mare transit
et longum noto scriptori prorogat aevum.

[¶8] Yet there are faults, which we should be ready to pardon: for neither does the string [always] form the sound which the hand and conception [of the performer] intends, but very often returns a sharp note when he demands a flat; nor will the bow always hit whatever mark it threatens. But when there is a great majority of beauties in a poem, I will not be offended with a few blemishes, which either inattention has dropped, or human nature has not sufficiently provided against. What therefore [is to be determined in this matter]? As a transcriber, if he still commits the same fault though he has been reproved, is without excuse; and the harper who always blunders on the same string, is sure to be laughed at; so he who is excessively deficient becomes another Choerilus; whom, when I find him tolerable in two or three places, I wonder at with laughter; and at the same time am I grieved whenever honest Homer grows drowsy But it is allowable, that sleep should steal upon [the progress of] a long work. As is painting, so is poetry: some pieces will strike you more if you stand near, and some, if you are at a greater distance: one loves the dark; another, which is not afraid of the critic's subtle judgment, chooses to be seen in the light; the one has pleased once the other will give pleasure if ten times repeated. 0 ye elder of the youths, though you are framed to a right judgment by your father's instructions, and are wise in yourself, yet take this truth along with you, [and] remember it; that in certain things a medium and tolerable degree of eminence may be admitted: a counselor and pleader at the bar of the middle rate is far removed from the merit of eloquent Messala, nor has so much knowledge of the law as Casselius Aulus, but yet he is in request; [but] a mediocrity in poets neither gods, nor men, nor [even] the booksellers' shops have endured. As at an agreeable entertainment discordant music, and muddy perfume, and poppies mixed with Sardinian honey give offense, because the supper might have passed without them; so poetry, created and invented for the delight of our souls, if it comes short ever so little of the summit, sinks to the bottom. He who does not understand the game, abstains from the weapons of the Campus Martius: and the unskillful in the tennis-ball, the quoit, and the troques keeps himself quiet; lest the crowded ring should raise a laugh at his expense: notwithstanding this, he who knows nothing of verses presumes to compose. Why not! He is free-born, and of a good family; above all, he is registered at an equestrian sum of moneys, and clear from every vice. You, [I am persuaded,] will neither say nor do any thing in opposition to Minerva: such is your judgment, such your disposition. But if ever you shall write any thing, let it be submitted to the ears of Metius [Tarpa], who is a judge, and your father's, and mine; and let it be suppressed till the ninth year, your papers being laid up within your own custody. You will have it in your power to blot out what you have not made public: a word once sent abroad can never return.

> Latin: sunt delicta tamen, quibus ignovisse velimus:
nam neque chorda sonum reddit quem volt manus et mens,
poscentique gravem persaepe remittit acutum,
nec semper feriet quodcumque minabitur arcus.
verum ubi plura nitent in carmine, non ego paucis
offendar maculis, quas aut incuria fudit
aut humana parum cavit natura. quid ergo est?
ut scriptor si peccat idem librarius usque,
quamvis est monitus, venia caret, et citharoedus
ridetur, chorda qui semper oberrat eadem,
sic mihi, qui multum cessat, fit Choerilus ille,
quem bis terve bonum cum risu miror; et idem
indignor, quandoque bonus dormitat Homerus;
verum operi longo fas est obrepere somnum.
ut pictura poesis: erit quae, si propius stes,
te capiat magis, et quaedam, si longius abstes;
haec amat obscurum, volet haec sub luce videri,
iudicis argutum quae non formidat acumen;
haec placuit semel, haec deciens repetita placebit.
o maior iuvenum, quamvis et voce paterna
fingeris ad rectum et per te sapis, hoc tibi dictum
tolle memor, certis medium et tolerabile rebus
recte concedi: consultus iuris et actor
causarum mediocris abest virtute diserti
Messallae nec scit quantum Cascellius Aulus,
sed tamen in pretio est: mediocribus esse poetis
non homines, non Di, non concessere columnae.
ut gratas inter mensas symphonia discors
et crassum unguentum et Sardo cum melle papaver
offendunt, poterat duci quia cena sine istis:
sic animis natum inventumque poema iuvandis,
si paulum summo decessit, vergit ad imum.
ludere qui nescit, campestribus abstinet armis
indoctusque pilae discive trochive quiescit,
ne spissae risum tollant inpune coronae:
qui nescit versus, tamen audet fingere. quidni?
liber et ingenuus, praesertim census equestrem
summam nummorum vitioque remotus ab omni.
tu nihil invita dices faciesve Minerva:
id tibi iudicium est, ea mens. siquid tamen olim
scripseris, in Meti descendat iudicis auris
et patris et nostras nonumque prematur in annum
membranis intus positis: delere licebit,
quod non edideris, nescit vox missa reverti.

[¶9] Orpheus, the priest and interpreter of the gods, deterred the savage race of men from slaughters and inhuman diet; hence said to tame tigers and furious lions: Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them whithersoever he would, by engaging persuasion. This was deemed wisdom of yore, to distinguish the public from private weal; things sacred from things profane; to prohibit a promiscuous commerce between the sexes; to give laws to married people; to plan out cities; to engrave laws on [tables of] wood. Thus honor accrued to divine poets, and their songs. After these, excellent Homer and Tyrtaeus animated the manly mind to martial achievements with their verses. Oracles were delivered in poetry, and the economy of life pointed out, and the favor of sovereign princes was solicited by Pierian strains, games were instituted, and a [cheerful] period put to the tedious labors of the day; [this I remind you of,] lest haply you should be ashamed of the lyric muse, and Apollo the god of song. It has been made a question, whether good poetry be derived from nature or from art. For my part, I can neither conceive what study can do without a rich [natural] vein, nor what rude genius can avail of itself: so much does the one require the assistance of the other, and so amicably do they conspire [to produce the same effect]. He who is industrious to reach the wished-for goal, has done and suffered much when a boy; he has sweated and shivered with cold; he has abstained from love and wine; he who sings the Pythian strains, was first a learner, and in awe of a master. But [in poetry] it is now enough for a man to say of himself:— "I make admirable verses: a murrain seize the hindmost: it is scandalous for me to be outstripped, and fairly to acknowledge that I am ignorant of that which I never learned."

> Latin: silvestris homines sacer interpresque Deorum
caedibus et victu foedo deterruit Orpheus,
dictus ob hoc lenire tigres rabidosque leones;
dictus et Amphion, Thebanae conditor urbis,
saxa movere sono testudinis et prece blanda
ducere quo vellet. fuit haec sapientia quondam,
publica privatis secernere, sacra profanis,
concubitu prohibere vago, dare iura maritis,
oppida moliri, leges incidere ligno.
sic honor et nomen divinis vatibus atque
carminibus venit. post hos insignis Homerus
Tyrtaeusque mares animos in Martia bella
versibus exacuit; dictae per carmina sortes
et vitae monstrata via est et gratia regum
Pieriis temptata modis ludusque repertus
et longorum operum finis: ne forte pudori
sit tibi Musa lyrae sollers et cantor Apollo.
natura fieret laudabile carmen an arte,
quaesitum est: ego nec studium sine divite vena
nec rude quid prosit video ingenium: alterius sic
altera poscit opem res et coniurat amice.
qui studet optatam cursu contingere metam,
multa tulit fecitque puer, sudavit et alsit,
abstinuit venere et vino; qui Pythia cantat
tibicen, didicit prius extimuitque magistrum.
nunc satis est dixisse 'ego mira poemata pango;
occupet extremum scabies; mihi turpe relinqui est
et quod non didici sane nescire fateri'.

[¶10] As a crier who collects the crowd together to buy his goods, so a poet rich in land, rich in money put out at interest, invites flatterers to come [and praise his works] for a reward. But if he be one who is well able to set out an elegant table, and give security for a poor man, and relieve him when entangled in gloomy law-suits; I shall wonder if with his wealth he can distinguish a true friend from a false one. You, whether you have made, or intend to make, a present to any one, do not bring him full of joy directly to your finished verses: for then he will cry out, "Charming, excellent, judicious," he will turn pale; at some parts he will even distill the dew from his friendly eyes; he will jump about; he will beat the ground [with ecstasy]. As those who mourn at funerals for pay, do and say more than those that are afflicted from their hearts; so the sham admirer is more moved than he that praises with sincerity. Certain kings are said to ply with frequent bumpers, and by wine make trial of a man whom they are sedulous to know, whether he be worthy of their friendship or not. Thus, if you compose verses, let not the fox's concealed intentions impose upon you. If you had recited any thing to Quintilius, he would say, "Alter, I pray, this and this:" if you replied, you could do it no better, having made the experiment twice or thrice in vain; he would order you to blot out, and once more apply to the anvil your ill-formed verses: if you choose rather to defend than correct a fault, he spent not a word more nor fruitless labor, but you alone might be fond of yourself and your own works, without a rival. A good and sensible man will censure spiritless verses, he will condemn the rugged, on the incorrect he will draw across a black stroke with his pen; he will lop off ambitious [and redundant] ornaments; he will make him throw light on the parts that are not perspicuous; he will arraign what is expressed ambiguously; he will mark what should be altered; [in short,] he will be an Aristarchus: he will not say, "Why should I give my friend offense about mere trifles?" These trifles will lead into mischiefs of serious consequence, when once made an object of ridicule, and used in a sinister manner.

> Latin: ut praeco, ad merces turbam qui cogit emendas,
adsentatores iubet ad lucrum ire poeta
dives agris, dives positis in fenore nummis.
si vero est, unctum qui recte ponere possit
et spondere levi pro paupere et eripere artis
litibus inplicitum, mirabor, si sciet inter-
noscere mendacem verumque beatus amicum.
tu seu donaris seu quid donare voles cui,
nolito ad versus tibi factos ducere plenum
laetitiae; clamabit enim 'pulchre! bene! recte!'
pallescet, super his etiam stillabit amicis
ex oculis rorem, saliet, tundet pede terram.
ut, qui conducti plorant in funere, dicunt
et faciunt prope plura dolentibus ex animo, sic
derisor vero plus laudatore movetur.
reges dicuntur multis urgere culillis
et torquere mero, quem perspexisse laborent
an sit amicitia dignus; si carmina condes,
numquam te fallent animi sub vulpe latentes.
Quintilio siquid recitares, 'corrige sodes
hoc' aiebat 'et hoc'. mulius te posse negares
bis terque expertum frustra: delere iubebat
et male tornatos incudi reddere versus.
si defendere delictum quam vertere malles,
nullum ultra verbum aut operam insumebat inanem,
quin sine rivali teque et tua solus amares.
vir bonus et prudens versus reprehendet inertis,
culpabit duros, incomptis adlinet atrum
transverso calamo signum, ambitiosa recidet
ornamenta, parum claris lucem dare coget,
arguet ambigue dictum, mutanda notabit:
fiet Aristarchus; non dicet 'cur ego amicum
offendam in nugis?' hae nugae seria ducent
in mala derisum semel exceptumque sinistre.

[¶11] Like one whom an odious plague or jaundice, fanatic phrensy or lunacy, distresses; those who are wise avoid a mad poet, and are afraid to touch him; the boys jostle him, and the incautious pursue him. If, like a fowler intent upon his game, he should fall into a well or a ditch while he belches out his fustian verses and roams about, though he should cry out for a long time, "Come to my assistance, 0 my countrymen;" not one would give himself the trouble of taking him up. Were any one to take pains to give him aid, and let down a rope; "How do you know, but he threw himself in hither on purpose?" I shall say: and will relate the death of the Sicilian poet. Empedocles, while he was ambitious of being esteemed an immortal god, in cold blood leaped into burning Aetna. Let poets have the privilege and license to die [as they please]. He who saves a man against his will, does the same with him who kills him [against his will]. Neither is it the first time that he has behaved in this manner; nor, were he to be forced from his purposes, would he now become a man, and lay aside his de sire of such a famous death. Neither does it appear sufficiently, why he makes verses: whether he has defiled his father's ashes, or sacrilegiously removed the sad enclosure of the vindictive thunder: it is evident that he is mad, and like a bear that has burst through the gates closing his den, this unmerciful rehearser chases the learned and unlearned. And whomsoever he seizes, he fastens on and assassinates with recitation: a leech that will not quit the skin, till satiated with blood.

> Latin: ut mala quem scabies aut morbus regius urget
aut fanaticus error et iracunda Diana,
vesanum tetigisse timent fugiuntque poetam
qui sapiunt, agitant pueri incautique sequuntur.
hic, dum sublimis versus ructatur et errat,
si veluti merulis intentus decidit auceps
in puteum foveamve, licet 'succurrite' longum
clamet, 'io cives', non sit qui tollere curet.
si curet quis opem ferre et demittere funem,
'qui scis, an prudens huc se deiecerit atque
servari nolit?' dicam siculique poetae
narrabo interitum. 'Deus inmortalis haberi
dum cupit Empedocles, ardentem frigidus Aetnam
insiluit. sit ius liceatque perire poetis:
invitum qui servat, idem facit occidenti.
nec semel hoc fecit nec, si retractus erit, iam
fiet homo et ponet famosae mortis amorem.
nec satis adparet, cur versus factitet, utrum
minxerit in patrios cineres an triste bidental
moverit incestus: certe furit ac velut ursus,
obiectos caveae valuit si frangere clatros,
indoctum doctumque fugat recitator acerbus;
quem vero arripuit, tenet occiditque legendo,
non missura cutem, nisi plena cruoris, hirudo.'