Humanitext Reader

Horace · Epistles §2.1.135-2.1.203

Utility of Poetry, Roman Drama, and the Audience

Passage 25 of 29 · Latin

Summary

The poet describes the religious and social utility of poetry, traces the historical evolution of Roman drama from Fescennine verses to the imitation of Greek tragedy, and criticizes both the artistic carelessness of comic playwrights and the vulgar appetite of Roman audiences for visual spectacles over genuine drama.

§2.1.135caelestis implorat aquas docta prece blandus, §2.1.136avertit morbos, metuenda pericula pellit, §2.1.137impetrat et pacem et locupletem frugibus annum, §2.1.138carmine di superi placantur, carmine Manes.
winning with learned prayer, it implores heavenly waters, turns away diseases, drives off feared dangers, obtains both peace and a year rich in crops; by song the gods above are appeased, by song the Manes.
§2.1.139Agricolae prisci, fortes parvoque beati, §2.1.140condita post frumenta levantes tempore festo §2.1.141corpus et ipsum animum spe finis dura ferentem, §2.1.142cum sociis operum et pueris et coniuge fida. §2.1.143Tellurem porco, Silvanum lacte piabant, §2.1.144floribus et vino Genium memorem brevis aevi,
Ancient farmers, sturdy and happy with a little, when refreshing their bodies and their very minds, which bore hardships in the hope of the end, during festival times after the grain was stored, along with the partners of their labors, their children, and faithful wife, they appeased Tellus with a pig, Silvanus with milk, and with flowers and wine the Genius, mindful of brief life.
§2.1.145Fescennina per hunc inventa licentia morem §2.1.146versibus alternis opprobria rustica fudit, §2.1.147libertasque recurrentis accepta per annos §2.1.148lusit amabiliter, donec iam saevus apertam
Through this custom, the Fescennine license, invented, poured forth rustic insults in alternate verses, and this freedom, welcomed as years returned, played amiably, until now the cruel jest began to turn into open madness, and through honorable houses to go, threatening with impunity.
§2.1.149in rabiem coepit verti iocus et per honestas §2.1.150ire domos impune minax, doluere cruento §2.1.151dente lacessiti; fuit intactis quoque cura §2.1.152condicione super communi; quin etiam lex §2.1.153poenaque lata, malo quae nollet carmine quemquam §2.1.154describi: vertere modum, formidine fustis §2.1.155ad bene dicendum delectandumque redacti.
They grieved who were stung by its bloody tooth; those untouched also had concern about the common condition; indeed even a law and penalty were passed, which forbade anyone to be described in abusive song: they changed their tune, and by fear of the club were reduced to speaking well and delighting.
§2.1.156Graecia capta ferum victorem cepit et artis §2.1.157intulit agresti Latio, sic horridus ille §2.1.158defluxit numerus Saturnius, et grave virus §2.1.159munditiae pepulere; sed in longum tamen aevum §2.1.160manserunt hodieque manent vestigia ruris.
Captured Greece took captive her fierce conqueror and arts introduced to rustic Latium; thus that rough Saturnian meter flowed away, and the offensive poison refinements expelled; yet for a long time there remained and today remain traces of the countryside.
§2.1.161serus enim Graecis admovit acumina chartis §2.1.162et post Punica bella quietus quaerere coepit, §2.1.163quid Sophocles et Thespis et Aeschylus utile ferrent.
For late did the Roman apply his intellect to Greek writings, and peaceful after the Punic wars, began to seek what useful thing Sophocles, Thespis, and Aeschylus brought.
§2.1.164temptavit quoque rem, si digne vertere posset, §2.1.165et placuit sibi, natura sublimis et acer: §2.1.166nam spirat tragicum satis et feliciter audet, §2.1.167sed turpem putat inscite metuitque lituram.
He also tried the task, to see if he could translate worthily, and pleased himself, being by nature sublime and vigorous: for he breathes tragedy enough and dares successfully, but he thinks erasure is shameful in his ignorance and fears it.
§2.1.168Creditur, ex medio quia res accersit, habere §2.1.169sudoris minimum, sed habet Comoedia tanto
It is believed, because it summons its subjects from common life, to have the least sweat; but Comedy has so much more burden, as it has less indulgence.
§2.1.170plus oneris, quanto veniae minus, adspice, Plautus §2.1.171quo pacto partis tutetur amantis ephebi, §2.1.172ut patris attenti, lenonis ut insidiosi, §2.1.173quantus sit Dossennus edacibus in parasitis, §2.1.174quam non adstricto percurrat pulpita socco.
See, how Plautus supports the role of the loving youth, as of the watchful father, as of the deceitful pimp, how great Dossennus is among greedy parasites, with how loose a slipper he runs over the stage.
§2.1.175gestit enim nummum in loculos demittere, post hoc §2.1.176securus cadat an recto stet fabula talo.
For he is eager to drop a coin into his pocket, after this indifferent whether his play falls or stands on steady ankles.
§2.1.177Quem tulit ad scaenam ventoso Gloria curru, §2.1.178exanimat lentus spectator, sedulus inflat: sic leve, §2.1.179sic parvum est, animum quod laudis avarum §2.1.180subruit aut reficit.
The one whom Glory has brought to the stage in her windy chariot, an indifferent spectator disheartens, an attentive one inflates: so light, so small is that which overthrows or restores a mind greedy for praise.
valeat res ludicra, si me §2.1.181palma negata macrum, donata reducit opimum.
Farewell to the drama, if the denied palm brings me back lean, and the awarded palm brings me back fat.
§2.1.182Saepe etiam audacem fugat hoc terretque poetam, §2.1.183quod numero plures, virtute et honore minores, §2.1.184indocti stolidique et depugnare parati, §2.1.185si discordet eques, media inter carmina poscunt §2.1.186aut ursum aut pugiles: his nam plebecula gaudet.
Often also this routs and terrifies even a bold poet: that those who are more in number, but less in worth and honor, unlearned and stupid and ready to fight, if the knight disagrees, demand in the middle of the play either a bear or boxers; for in these the rabble delights.
§2.1.187verum equitis quoque iam migravit ab aure voluptas §2.1.188omnis ad incertos oculos et gaudia vana.
But even all the pleasure of the knight has now migrated from the ear to the shifting eyes and vain delights.
§2.1.189quattuor aut pluris aulaea premuntur in horas, §2.1.190dum fugiunt equitum turmae peditumque catervae; §2.1.191mox trahitur manibus regum fortuna retortis, §2.1.192esseda festinant, pilenta, petorrita, naves, §2.1.193captivum portatur ebur, captiva Corinthus.
For four or more hours the curtains are kept lowered, while squadrons of cavalry and bands of infantry flee; presently the fortune of kings is dragged with hands bound behind their backs, chariots hurry by, carriages, wagons, ships, captured ivory is carried, a captured Corinth.
§2.1.194si foret in terris, rideret Democritus, seu §2.1.195diversum confusa genus panthera camelo §2.1.196sive elephans albus volgi converteret ora; §2.1.197spectaret populum ludis attentius ipsis §2.1.198ut sibi praebentem nimio spectacula plura: §2.1.199scriptores autem narrare putaret asello §2.1.200fabellam surdo.
If he were on earth, Democritus would laugh, whether a panther mixed with a camel, a different species, or a white elephant should draw the faces of the crowd; he would watch the people more closely than the plays themselves, as offering him far more spectacles; while as for the writers, he would think they were telling a story to a deaf ass.
nam quae pervincere voces §2.1.201evaluere sonum, referunt quem nostra theatra?
For what voices have been able to overpower the sound which our theaters echo?
§2.1.202Garganum mugire putes nemus aut mare Tuscum; §2.1.203tanto cum strepitu ludi spectantur et artes
You would think the Garganian grove is roaring, or the Tuscan sea; with such great noise are the plays and the arts viewed

Notes

  1. 2.1.135implorat — The subject of the verb 'implorat' is the chorus ('chorus'), which appeared in the preceding line (§2.1.134).
  2. 2.1.144Genium memorem brevis aevi — The phrase 'Genius mindful of brief life' reflects the Roman conception of the Genius as a personal tutelary spirit closely tied to one's transient life, highlighting the imperative to enjoy life while it lasts.
  3. 2.1.150doluere — The syncopated perfect form 'doluere' (= 'doluerunt'). The subject is 'lacessiti' in the next line, referring to those who were provoked or stung by the cruel wit.
  4. 2.1.154formidine fustis — The 'fear of the club' refers to the legal penalty of beating to death ('fustuarium') prescribed in the Twelve Tables for composing defamatory or slanderous songs.
  5. 2.1.161serus — The adjective 'serus' is used adverbially ('late' or 'tardily'), modifying the verb 'admovit'. The implied subject is the Roman writer or spirit.
  6. 2.1.167lituram — Literally referring to 'erasing' or 'smearing out' text on a wax tablet. In literary contexts, it means editing and critical revision, which Horace notes Roman tragic poets foolishly avoided.
  7. 2.1.174socco — The 'soccus' (low-heeled slipper) is the conventional footwear of comic actors, serving as a metonymy for comedy (in contrast to the tragic 'cothurnus'). The phrase 'non adstricto' (loose, unbound) metaphorically criticizes the careless metrical and structural composition of the play.
  8. 2.1.189aulaea premuntur — In Roman theaters, curtains ('aulaea') were lowered ('premuntur') into a slot in the stage floor at the beginning of a play and raised at the end. Curtains being kept down for hours indicates that the performance is dominated by prolonged, non-literary visual spectacles.

Cite this passage

Horace, Epistles §2.1.135-2.1.203. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:latinLit:phi0893.phi005.humanitext-lat2:2.1.135-2.1.203

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