The Satire opens with a
dialogue
between the poet himself and some
one who breaks in upon his meditations.
one who breaks in upon his meditations.
Satires
, 87, "Catonem uno caballo esse contentum.
" So Juv.
,
x. , 60, "Immeritis franguntur crura caballis. " Juvenal also applies
the term to Pegasus: "Ad quam Gorgonei delapsa est pinna caballi,"
iii. , 118. Pegasus sprang from the blood of Medusa when beheaded by
Perseus. Ov. , Met, iv. , 785, "Eripuisse caput collo: pennisque fugacem
Pegason et fratrem matris de sanguine natos. " The fountain Hippocrene,
ἱππουκρήνη, sprang up from the stroke of his hoof when he lighted on
Mount Helicon. Ov. , Fast. , iii. , 456, "Cum levis Aonias ungula fodit
aquas. " Hes. , Theog. , 2-6. Hesych. , v. ἱππουκρήνη. Paus. , Bœot. , 31.
Near it was the fountain of Aganippe, and these two springs supplied
the rivers Olmius and Permissus, the favorite haunts of the Muses.
Hesiod, _u. s. _ Hence those who drank of these were fabled to become
poets forthwith. Mosch. , Id. , iii. , 77, ἀμφότεροι παγαῖς πεφιλαμένοι· ὃς
μεν ἔπινε Παγασίδος κράνας ὁ δὲ πῶμ' ἔχε τᾶς Ἀρεθοίσας.
[1170] _Bicipiti. _ Parnassus is connected toward the southeast with
Helicon and the Bœotian ridges. It is the highest mountain in Central
Greece, and is covered with snow during the greater portion of the
year. The Castalian spring is fed by these perpetual snows, and pours
down the chasm between the two summits. These are two lofty rocks
rising perpendicularly from Delphi, and obtained for the mountain the
epithet δικόρυφον. Eur. , Phœn. , 234. They were anciently known by the
names of Hyampeia and Naupleia, Herod. , viii. , 39, but sometimes the
name Phædriades was applied to them in common. The name of Tithorea
was also applied to one of them, as well as to the town of Neon in its
neighborhood. Herod. , viii. , 32. These heights were sacred to Bacchus
and the Muses, and those who slept in their neighborhood were supposed
to receive inspiration from them. Cf. Propert. , III. , ii. , 1, "Visus
eram molli recubans Heliconis in umbrâ, Bellerophontei quà fluit humor
equi; Reges, Alba, tuos et regum facta tuorum tantum operis nervis
hiscere posse meis. " Cf. Virg. , Æn. , vii. , 86. Ov. , Heroid. , xv. , 156,
_seq. _
[1171] _Pirenen. _ The fountain of Pirene was in the middle of the forum
of Corinth. Ov. , Met. , ii. , 240, "Ephyre Pirenidas undas. " It took its
name from the nymph so called, who dissolved into tears at the death of
her daughter Cenchrea, accidentally killed by Diana. The water was said
to have the property of tempering the Corinthian brass, when plunged
red-hot into the stream. Paus. , ii. , 3. Near the source Bellerophon
is said to have seized Pegasus, hence called the Pirenæan steed by
Euripides. Electr. , 475. Cf. Pind. , Olymp. , xiii. , 85, 120. Stat.
Theb. , iv. , 60, "Cenchreæque manus, vatûm qui conscius amnis Gorgoneo
percussus equo. " Ov. , Pont. , I. , iii. , 75. The _Latin_ poets alone make
this spring sacred to the Muses. "Pallidam" may refer either to the
legend of its origin, or to the wan faces of the votaries of the Muses.
[1172] _Imagines. _ Cf. Juv. , vii. , 29, "Qui facis in parvâ sublimia
carmina cellâ ut dignus venias hederis et imagine macrâ. " Poets were
crowned with _ivy_ as well as _bay_. "Doctarum hederæ præmia frontium. "
Hor. , i. , Od. i. , 29. The Muses being the companions of Bacchus as
well as of Apollo. Ov. , A. Am. , iii. , 411. Mart. , viii. , Ep. 82. The
busts of poets and other eminent literary men were used to adorn public
libraries, especially the one in the temple of Palatine Apollo.
[1173] _Lambunt_, properly said of a dog's tongue, then of flame. Cf.
Virg. , Æn. , ii. , 684, "Tractuque innoxia molli Lambere flamma comas, et
circum tempora pasci. " So the ivy, climbing and clinging, seems to lick
with its forked tongue the objects whose form it closely follows.
[1174] _Semipaganus. _ Paganus is opposed to miles. Juv. , xvi. , 33.
Plin. , x. , Ep. xviii. Here it means, "not wholly undisciplined in the
warfare of letters. " So Plin. , vii. , Ep. 25, "Sunt enim ut in castris,
sic etiam in litteris nostris plures cultu pagano, quos cinctos et
armatos, et quidem, ardentissimo ingenio, diligentius scrutatus
invenies. "
[1175] _Affero. _ εἰς μέσον φέρω. Casaubon.
[1176] _Quis expedivit. _ To preserve his incognito, Persius in this 2d
part of the Prologue represents himself as driven by poverty, though
but unprepared, to write for his bread. So Horace, ii. , Ep. xi. , 50,
"Decisis humilem pennis inopemque paterni et Laris et fundi paupertas
impulit audax ut versus facerem. "
[1177] _Psittaco. _ Cf. Stat. Sylv. , II. , iv. , 1, 2, "Psittace, dux
volucrûm, domini facunda voluptas, Humanæ solers imitator, Psittace
linguæ! " Mart. , xiv. , Ep. lxxiii. , 76. χαῖρε was one of the common
words taught to parrots. So εὗ πράττε, Ζεὺς ἵλεως, Cæsar ave. Vid.
Mart. , _u. s. _
[1178] _Magister artis. _ So the Greek proverb, Λιμὸς δὲ πολλῶν γίγνεται
διδάσκαλος. Theoc. , xxi. , Id. 1, Ἁ Πενιὰ, Διοφαντε, μόνα τὰς τέχνας
ἐγείρει. Plaut. Stich. , "Paupertas fecit ridiculus forem. Nam illa
omnes artes perdocet. " Cf. Arist. , Plut. , 467-594. So Ben Jonson, in
the Poetaster, "And between whiles spit out a better poem than e'er the
master of arts, or giver of wit, their belly, made. "
[1179] _Negatas. _ So Manilius, lib. v. , "Quinetiam linguas hominum
sensusque docebit Aerias volucres, novaque in commercia ducet, Verbaque
præcipiet naturæ sorte negatas. "
[1180] _Nectar_ is found in two MSS. ; all the others have "melos,"
which has been rejected as not making a scazontic line. But Homer, in
his Hymn to Mercury, makes the first syllable long; and also Antipater,
in an Epigram on Anacreon, ἀκμὴν οἳ λυρόεν μελίζεται ἀμφι βαθύλλῳ. Cf.
Theoc. , Id. , vii. , 82, οὕνεκά οι γλυκὺ Μοῖσα στόματος χέε νέκταρ.
SATIRE I.
ARGUMENT.
Under the color of declaring his purpose of writing Satire and
the plan he intends to adopt, and of defending himself against
the idle criticism of an imaginary and nameless adversary,
Persius lashes the miserable poets of his own day, and in no
very obscure terms, their Coryphæus himself, Nero. The subject
of the Satire is not very unlike the first of the second book
of Horace's Satires, and comes very near in some points to the
first Satire of Juvenal. But the manner of treatment is distinct
in each, and quite characteristic of the three great Satirists.
Horace's is more full of personality, one might say, of egotism,
and his own dislike and contempt of the authors of his time,
more lively and brilliant, more pungent and witty, than either
of the others; more pregnant with jokes, and yet rising to a
higher tone than the Satire of Persius. That of Juvenal is in a
more majestic strain, as befits the stern censor of the depraved
morals of his day; full of commanding dignity and grave rebuke,
of fiery indignation and fierce invective; and is therefore more
declamatory and oratorical in its style, more elevated in its
sentiment, more refined in its diction. While in that of Persius
we trace the workings of a young and ardent mind, devoted to
literature and intellectual pleasures, of a philosophical turn,
and a chastened though somewhat fastidious taste. We see the
student and devotee of literature quite as much as the censor of
morals, and can see that he grieves over the corruption of the
public _taste_ almost as deeply as over the general depravity of
public _morals_. Still there breathes through the whole a tone of
high and right feeling, of just and stringent criticism, of keen
and pungent sarcasm, which deservedly places this Satire very
high in the rank of intellectual productions.
The Satire opens with a dialogue between the poet himself and some
one who breaks in upon his meditations. This person is usually
described as his "Monitor;" some well-meaning acquaintance,
who endeavors to dissuade the poet from his purpose of
writing Satire. But D'Achaintre's notion, that he is rather
an ill-natured critic than a good-natured adviser, seems the
more tenable one, and the divisions of the first few lines have
been ingeniously made to support that view. After expressing
supreme contempt for the poet's opening line, he advises him,
if he must needs give vent to verse, to write something more
suited to the taste and spirit of the age he lives in. Persius
acknowledges that this would be the more likely way to gain
applause, but maintains that such approbation is not the end at
which a true poet ought to aim. And this leads him to expose
the miserable and corrupt taste of the poetasters of his day,
and to express supreme contempt for the mania for recitation
then prevalent, which had already provoked the sneers of Horace,
and afterward drew down the more majestic condemnation of
Juvenal. He draws a vivid picture of these depraved poets, who
pander to the gross lusts of their hearers by their lascivious
strains. Their affectation of speech and manner, their costly
and effeminate dress, the vanity of their exalted seat, and
the degraded character of their compositions; and on the other
hand, the excessive and counterfeited applause of their hearers,
expressed by extravagance of language and lasciviousness of
gesture corresponding to the nature of the compositions, are
touched with a masterly hand. He then ridicules the pretensions
of these courtly votaries of the Muses, whose vanity is fostered
by the interested praise of dependents and sycophants, who are
the first to ridicule them behind their backs. He then makes a
digression to the bar; and shows that the manly and vigorous
eloquence of Cicero and Hortensius and Cato, as well as the
masculine energy and dignity of Virgil, is frittered away, and
diluted by the introduction of redundant and misplaced metaphor,
labored antitheses, trifling conceits, accumulated epithets, and
bombastic and obsolete words, and a substitution of rhetorical
subtleties for that energetic simplicity which speaks _from_ and
_to_ the heart. Returning to the poets, he brings in a passage
of Nero's own composition as a most glaring example of these
defects. This excites his friend's alarm, and elicits some
cautious advice respecting the risk he encounters; which serves
to draw forth a more daring avowal of his bold purpose, and an
animated description of the persons whom he would wish to have
for his readers.
PERSIUS. "Oh the cares of men! [1181] Oh how much vanity is there in
human affairs! "--
ADVERSARIUS. [1182] Who will read this? [1183]
P. Is it to me you say this?
A. Nobody, by Hercules!
P. Nobody! Say two perhaps, or--
A. Nobody. It is mean and pitiful stuff!
P. Wherefore? No doubt "Polydamas[1184] and Trojan dames" will prefer
Labeo to me--
A. It is all stuff!
P. Whatever turbid Rome[1185] may disparage, do not thou join their
number; nor by that scale of theirs seek to correct thy own false
balance, nor seek[1186] thyself out of thyself. For who is there
at Rome that is not[1187]--Ah! if I might but speak! [1188] But I
may,[1189] when I look at our gray hairs,[1190] and our severe way
of life, and all that we commit since we abandoned our childhood's
nuts. [1191] When we savor of uncles,[1192] then--then forgive!
A. I will not!
P. What must I do? [1193] For I am a hearty laugher with a saucy spleen.
We write, having shut ourselves in,[1194] one man verses, another free
from the trammels of metre, something grandiloquent, which the lungs
widely distended with breath may give vent to.
And this, of course, some day, with your hair combed and a new
toga,[1195] all in white with your birthday Sardonyx,[1196] you
will read out from your lofty seat,[1197] to the people, when you
have rinsed[1198] your throat, made flexible by the liquid gargle;
languidly leering with lascivious eye! Here you may see the tall
Titi[1199] in trembling excitement, with lewdness of manner and
agitation of voice, when the verses enter their loins,[1200] and their
inmost parts are titillated with the lascivious strain.
P. And dost thou, in thy old age,[1201] collect dainty bits for the
ears of others? Ears to which even thou, bursting[1202] with vanity,
wouldst say, "Hold, enough! "
A. To what purpose is your learning, unless this leaven, and this wild
fig-tree[1203] which has once taken life within, shall burst through
your liver and shoot forth?
P. See that pallor and premature old age! [1204] Oh Morals! [1205] Is
then your knowledge so absolutely naught, unless another know you have
that knowledge? [1206]
A. But it is a fine thing to be pointed at with the finger,[1207]
and that it should be said, "That's he! " Do you value it at
nothing, that your works should form the studies[1208] of a hundred
curly-headed[1209] youths?
P. See! [1210] over their cups,[1211] the well-filled Romans[1212]
inquire of what the divine poems tell. Here some one, who has
a hyacinthine robe round his shoulders, snuffling through his
nose[1213] some stale ditty, distills and from his dainty palate
lisps trippingly[1214] his Phyllises,[1215] Hypsipyles, and all the
deplorable strains of the poets. The heroes hum assent! [1216] Now are
not the ashes[1217] of the poet blest? Does not a tomb-stone press
with lighter weight[1218] upon his bones? The guests applaud. Now
from those Manes of his, now from his tomb and favored ashes, will not
violets spring? [1219]
A. You are mocking and indulging in too scornful a sneer. [1220] Lives
there the man who would disown the wish to deserve the people's
praise,[1221] and having uttered words worthy of the cedar,[1222]
to leave behind him verses that dread neither herrings[1223] nor
frankincense?
P. Whoever thou art that hast just spoken, and that hast a fair
right[1224] to plead on the opposite side, I, for my part, when I
write, if any thing perchance comes forth[1225] aptly expressed (though
this is, I own, a rare bird[1226]), yet if any thing does come forth,
I would not shrink from being praised: for indeed my heart is not of
horn. But I deny that that "excellently! " and "beautifully! "[1227] of
yours is the end and object of what is right. For sift thoroughly
all this "beautifully! " and what does it not comprise within it! Is
there not to be found in it the Iliad of Accius,[1228] intoxicated
with hellebore? are there not all the paltry sonnets our crude[1229]
nobles have dictated? in fine, is there not all that is composed on
couches of citron? [1230] You know how to set before your guests the hot
paunch;[1231] and how to make a present of your threadbare cloak to
your companion shivering with cold,[1232] and then you say, "I do love
the truth! [1233] tell me the truth about myself! " How is that possible?
Would you like me to tell it you? Thou drivelest,[1234] Bald-pate,
while thy bloated paunch projects a good foot and a half hanging in
front! O Janus! whom no stork[1235] pecks at from behind, no hand that
with rapid motion imitates the white ass's ears, no tongue mocks,
projecting as far as that of the thirsting hound of Apulia! Ye, O
patrician blood! [1236] whose privilege[1237] it is to live with no eyes
at the back of your head, prevent[1238] the scoffs[1239] that are made
behind your back!
What is the people's verdict? What should it be, but that now at length
verses flow in harmonious numbers, and the skillful joining[1240]
allows the critical nails to glide over its polished surface: he
knows how to carry on his verse as if he were drawing a ruddle line
with one eye[1241] closed. Whether he has occasion to write against
public morals, against luxury, or the banquets of the great, the Muses
vouchsafe to our Poet[1242] the saying brilliant things. And see! now
we see those introducing heroic[1243] sentiments, that were wont to
trifle in Greek: that have not even skill enough to describe a grove.
Nor praise the bountiful country, where are baskets,[1244] and the
hearth, and porkers, and the smoky palilia with the hay: whence Remus
sprung, and thou, O Quintius,[1245] wearing away the plow-boards in
the furrow, when thy wife with trembling haste invested thee with
the dictatorship in front of thy team, and the lictor bore thy plow
home--Bravo, poet!
Some even now delight in the turgid book of Brisæan Accius,[1246] and
in Pacuvius, and warty[1247] Antiopa, "her dolorific heart propped up
with woe. " When you see purblind sires instilling these precepts into
their sons, do you inquire whence came this gallimaufry[1248] of speech
into our language? Whence that disgrace,[1249] in which the effeminate
Trossulus[1250] leaps up in ecstasy at you, from his bench.
Are you not ashamed[1251] that you can not ward off danger from a
hoary head, without longing to hear the lukewarm "Decently[1252] said! "
"You are a thief! " says the accuser to Pedius. What says Pedius? [1253]
He balances the charge in polished antitheses. He gets the praise of
introducing learned figures. "That is fine! " Fine, is it? [1254] O
Romulus, dost thou wag thy tail? [1255] Were the shipwrecked man to
sing, would he move my pity, forsooth, or should I bring forth my
penny? Do you sing, while you are carrying about a picture[1256] of
yourself on a fragment of wood, hanging from your shoulders. He that
aims at bowing me down by his piteous complaint, must whine out what is
real,[1257] and not studied and got up of a night.
A. But the numbers have grace, and crude as you call them, there is a
judicious combination.
P. He has learned thus to close his line. "Berecynthean Atys;"[1258]
and, "The Dolphin that clave the azure Nereus. " So again, "We filched
away a chine from long-extending Apennine. "
A. "Arms and the man. "[1259] Is not this frothy, with a pithless rind?
P. Like a huge branch, well seasoned, with gigantic bark!
A. What then is a tender strain, and that should be read with neck
relaxed? [1260]
P. "With Mimallonean[1261] hums they filled their savage horns; and
Bassaris, from the proud steer about to rive the ravished head, and
Mænas, that would guide the lynx with ivy-clusters, re-echoes Evion;
and reproductive Echo reverberates the sound! " Could such verses be
written, did one spark of our fathers' vigor still exist in us? This
nerveless stuff dribbles on the lips, on the topmost spittle. In drivel
vests this Mænas and Attis. It neither beats the desk,[1262] nor savors
of bitten nails.
A. But what need is there to grate on delicate ears with biting truth?
Take care, I pray, lest haply the thresholds of the great[1263] grow
cold to you. Here the dog's letter[1264] sounds from the nostril. For
me[1265] then, henceforth, let all be white. I'll not oppose it. Bravo!
For you shall all be very wonderful productions! Does that please you?
"Here, you say, I forbid any one's committing a nuisance. " Then paint
up two snakes. Boys, go farther away: the place is sacred! I go away.
P. Yet Lucilius lashed[1266] the city, and thee, O Lupus,[1267]
and thee too, Mucius,[1268] and broke his jaw-bone[1269] on them.
Sly Flaccus touches every failing of his smiling friend, and, once
admitted, sports around his heart; well skilled in sneering[1270] at
the people with well-dissembled[1271] sarcasm. And is it then a crime
for me to mutter, secretly, or in a hole?
A. You must do it nowhere.
P. Yet here I will bury it! I saw, I saw with my own[1272] eyes, my
little book! Who has not asses' ears? [1273] This my buried secret, this
my sneer, so valueless, I would not sell you for any Iliad. [1274]
Whoever thou art, that art inspired[1275] by the bold Cratinus, and
growest pale over the wrathful Eupolis and the old man sublime, turn
thine eyes on these verses also, if haply thou hearest any thing more
refined. [1276] Let my reader glow with ears warmed by their strains.
Not he that delights, like a mean fellow as he is, in ridiculing the
sandals of the Greeks, and can say to a blind man, Ho! you blind
fellow! Fancying himself to be somebody, because vain[1277] of his
rustic honors, as Ædile[1278] of Arretium,[1279] he breaks up the
false measures[1280] there. Nor again, one who has just wit enough to
sneer at the arithmetic boards,[1281] and the lines in the divided
dust; quite ready to be highly delighted, if a saucy wench[1282]
plucks[1283] a Cynic's[1284] beard. To such as these I recommend[1285]
the prætor's edict[1286] in the morning, and after dinner--Callirhoe.
FOOTNOTES:
[1181] _Oh curas! _ These are the opening lines of his Satire, which
Persius is reading aloud, and is interrupted by his "Adversarius. " He
represents himself as having meditated on all mundane things, and,
like Solomon, having discovered their emptiness, "Vanitas vanitatum! "
Cf. Juv. , Sat. i. , 85, "Quidquid agunt homines, votum, timor, ira,
voluptas, Gaudia, discursus; nostri est farrago libelli. " It is an
adaptation of the old Greek proverb, ὅσον τὸ κένον.
[1182] _Adversarius. _ "Interpretes plerique hunc Persii amicum seu
monitorem volunt: ego vero et morosum adversarium, et ridiculum senem
intelligo. " D'Achaintre.
[1183] _Quis legit hæc? _ The old Gloss. says this line is taken from
the first book of Lucilius.
[1184] _Næ mihi Polydamas. _ Taken from Hector's speech, where he dreads
the reproaches of his brother-in-law Polydamas, and the Trojan men
and women, if he were to retire within the walls of Troy. Il. , x. ,
105, 108, Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει--αἰδέομαι Τρῶας καὶ
Τρωάδας ἑλκεσιπέπλους. Cicero has introduced the same lines in his
Epistle to Atticus: "Aliter sensero? αἰδέομαι non Pompeium modo, sed
Τρῶας καὶ Τρωάδας· Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει: Quis? Tu
ipse scilicet; laudator et scriptorum et factorum meorum," vii. , 1. By
Polydamas, he intends Nero; by Troïades, the effeminate Romans, who
prided themselves on their Trojan descent. Cf. Juv. , i. , 100, "Jubet a
præcone vocari ipsos Trojugenas. " viii. , 181, "At vos Trojugenæ vobis
ignoscitis, et quæ turpia cerdoni Volesos Brutosque decebunt. " Attius
Labeo was a miserable court-poet, a favorite of Nero, who applied
himself to translate Homer word for word. Casaubon gives the following
specimen of his poetry: "Crudum manduces Priamum, Priamique pisinnos. "
[1185] _Turbida Roma. _ "Muddy, not clear in its judgment. " A metaphor
from thick, troubled waters. Persius now addresses himself, and uses
the second person. "Though Rome in its perverted judgment should
disparage my writings, I will not subscribe to its verdict, or seek
beyond my own breast for rules to guide my course of action. " _Elevet_,
_examen_, _trutina_, are all metaphors from a steelyard or balance.
Trutina is the aperture in the iron that supports the balance, in which
the examen, i. e. , the tongue (hasta, lingula), plays. Elevare is
said of that which causes the lanx of the balance to "kick the beam.
x. , 60, "Immeritis franguntur crura caballis. " Juvenal also applies
the term to Pegasus: "Ad quam Gorgonei delapsa est pinna caballi,"
iii. , 118. Pegasus sprang from the blood of Medusa when beheaded by
Perseus. Ov. , Met, iv. , 785, "Eripuisse caput collo: pennisque fugacem
Pegason et fratrem matris de sanguine natos. " The fountain Hippocrene,
ἱππουκρήνη, sprang up from the stroke of his hoof when he lighted on
Mount Helicon. Ov. , Fast. , iii. , 456, "Cum levis Aonias ungula fodit
aquas. " Hes. , Theog. , 2-6. Hesych. , v. ἱππουκρήνη. Paus. , Bœot. , 31.
Near it was the fountain of Aganippe, and these two springs supplied
the rivers Olmius and Permissus, the favorite haunts of the Muses.
Hesiod, _u. s. _ Hence those who drank of these were fabled to become
poets forthwith. Mosch. , Id. , iii. , 77, ἀμφότεροι παγαῖς πεφιλαμένοι· ὃς
μεν ἔπινε Παγασίδος κράνας ὁ δὲ πῶμ' ἔχε τᾶς Ἀρεθοίσας.
[1170] _Bicipiti. _ Parnassus is connected toward the southeast with
Helicon and the Bœotian ridges. It is the highest mountain in Central
Greece, and is covered with snow during the greater portion of the
year. The Castalian spring is fed by these perpetual snows, and pours
down the chasm between the two summits. These are two lofty rocks
rising perpendicularly from Delphi, and obtained for the mountain the
epithet δικόρυφον. Eur. , Phœn. , 234. They were anciently known by the
names of Hyampeia and Naupleia, Herod. , viii. , 39, but sometimes the
name Phædriades was applied to them in common. The name of Tithorea
was also applied to one of them, as well as to the town of Neon in its
neighborhood. Herod. , viii. , 32. These heights were sacred to Bacchus
and the Muses, and those who slept in their neighborhood were supposed
to receive inspiration from them. Cf. Propert. , III. , ii. , 1, "Visus
eram molli recubans Heliconis in umbrâ, Bellerophontei quà fluit humor
equi; Reges, Alba, tuos et regum facta tuorum tantum operis nervis
hiscere posse meis. " Cf. Virg. , Æn. , vii. , 86. Ov. , Heroid. , xv. , 156,
_seq. _
[1171] _Pirenen. _ The fountain of Pirene was in the middle of the forum
of Corinth. Ov. , Met. , ii. , 240, "Ephyre Pirenidas undas. " It took its
name from the nymph so called, who dissolved into tears at the death of
her daughter Cenchrea, accidentally killed by Diana. The water was said
to have the property of tempering the Corinthian brass, when plunged
red-hot into the stream. Paus. , ii. , 3. Near the source Bellerophon
is said to have seized Pegasus, hence called the Pirenæan steed by
Euripides. Electr. , 475. Cf. Pind. , Olymp. , xiii. , 85, 120. Stat.
Theb. , iv. , 60, "Cenchreæque manus, vatûm qui conscius amnis Gorgoneo
percussus equo. " Ov. , Pont. , I. , iii. , 75. The _Latin_ poets alone make
this spring sacred to the Muses. "Pallidam" may refer either to the
legend of its origin, or to the wan faces of the votaries of the Muses.
[1172] _Imagines. _ Cf. Juv. , vii. , 29, "Qui facis in parvâ sublimia
carmina cellâ ut dignus venias hederis et imagine macrâ. " Poets were
crowned with _ivy_ as well as _bay_. "Doctarum hederæ præmia frontium. "
Hor. , i. , Od. i. , 29. The Muses being the companions of Bacchus as
well as of Apollo. Ov. , A. Am. , iii. , 411. Mart. , viii. , Ep. 82. The
busts of poets and other eminent literary men were used to adorn public
libraries, especially the one in the temple of Palatine Apollo.
[1173] _Lambunt_, properly said of a dog's tongue, then of flame. Cf.
Virg. , Æn. , ii. , 684, "Tractuque innoxia molli Lambere flamma comas, et
circum tempora pasci. " So the ivy, climbing and clinging, seems to lick
with its forked tongue the objects whose form it closely follows.
[1174] _Semipaganus. _ Paganus is opposed to miles. Juv. , xvi. , 33.
Plin. , x. , Ep. xviii. Here it means, "not wholly undisciplined in the
warfare of letters. " So Plin. , vii. , Ep. 25, "Sunt enim ut in castris,
sic etiam in litteris nostris plures cultu pagano, quos cinctos et
armatos, et quidem, ardentissimo ingenio, diligentius scrutatus
invenies. "
[1175] _Affero. _ εἰς μέσον φέρω. Casaubon.
[1176] _Quis expedivit. _ To preserve his incognito, Persius in this 2d
part of the Prologue represents himself as driven by poverty, though
but unprepared, to write for his bread. So Horace, ii. , Ep. xi. , 50,
"Decisis humilem pennis inopemque paterni et Laris et fundi paupertas
impulit audax ut versus facerem. "
[1177] _Psittaco. _ Cf. Stat. Sylv. , II. , iv. , 1, 2, "Psittace, dux
volucrûm, domini facunda voluptas, Humanæ solers imitator, Psittace
linguæ! " Mart. , xiv. , Ep. lxxiii. , 76. χαῖρε was one of the common
words taught to parrots. So εὗ πράττε, Ζεὺς ἵλεως, Cæsar ave. Vid.
Mart. , _u. s. _
[1178] _Magister artis. _ So the Greek proverb, Λιμὸς δὲ πολλῶν γίγνεται
διδάσκαλος. Theoc. , xxi. , Id. 1, Ἁ Πενιὰ, Διοφαντε, μόνα τὰς τέχνας
ἐγείρει. Plaut. Stich. , "Paupertas fecit ridiculus forem. Nam illa
omnes artes perdocet. " Cf. Arist. , Plut. , 467-594. So Ben Jonson, in
the Poetaster, "And between whiles spit out a better poem than e'er the
master of arts, or giver of wit, their belly, made. "
[1179] _Negatas. _ So Manilius, lib. v. , "Quinetiam linguas hominum
sensusque docebit Aerias volucres, novaque in commercia ducet, Verbaque
præcipiet naturæ sorte negatas. "
[1180] _Nectar_ is found in two MSS. ; all the others have "melos,"
which has been rejected as not making a scazontic line. But Homer, in
his Hymn to Mercury, makes the first syllable long; and also Antipater,
in an Epigram on Anacreon, ἀκμὴν οἳ λυρόεν μελίζεται ἀμφι βαθύλλῳ. Cf.
Theoc. , Id. , vii. , 82, οὕνεκά οι γλυκὺ Μοῖσα στόματος χέε νέκταρ.
SATIRE I.
ARGUMENT.
Under the color of declaring his purpose of writing Satire and
the plan he intends to adopt, and of defending himself against
the idle criticism of an imaginary and nameless adversary,
Persius lashes the miserable poets of his own day, and in no
very obscure terms, their Coryphæus himself, Nero. The subject
of the Satire is not very unlike the first of the second book
of Horace's Satires, and comes very near in some points to the
first Satire of Juvenal. But the manner of treatment is distinct
in each, and quite characteristic of the three great Satirists.
Horace's is more full of personality, one might say, of egotism,
and his own dislike and contempt of the authors of his time,
more lively and brilliant, more pungent and witty, than either
of the others; more pregnant with jokes, and yet rising to a
higher tone than the Satire of Persius. That of Juvenal is in a
more majestic strain, as befits the stern censor of the depraved
morals of his day; full of commanding dignity and grave rebuke,
of fiery indignation and fierce invective; and is therefore more
declamatory and oratorical in its style, more elevated in its
sentiment, more refined in its diction. While in that of Persius
we trace the workings of a young and ardent mind, devoted to
literature and intellectual pleasures, of a philosophical turn,
and a chastened though somewhat fastidious taste. We see the
student and devotee of literature quite as much as the censor of
morals, and can see that he grieves over the corruption of the
public _taste_ almost as deeply as over the general depravity of
public _morals_. Still there breathes through the whole a tone of
high and right feeling, of just and stringent criticism, of keen
and pungent sarcasm, which deservedly places this Satire very
high in the rank of intellectual productions.
The Satire opens with a dialogue between the poet himself and some
one who breaks in upon his meditations. This person is usually
described as his "Monitor;" some well-meaning acquaintance,
who endeavors to dissuade the poet from his purpose of
writing Satire. But D'Achaintre's notion, that he is rather
an ill-natured critic than a good-natured adviser, seems the
more tenable one, and the divisions of the first few lines have
been ingeniously made to support that view. After expressing
supreme contempt for the poet's opening line, he advises him,
if he must needs give vent to verse, to write something more
suited to the taste and spirit of the age he lives in. Persius
acknowledges that this would be the more likely way to gain
applause, but maintains that such approbation is not the end at
which a true poet ought to aim. And this leads him to expose
the miserable and corrupt taste of the poetasters of his day,
and to express supreme contempt for the mania for recitation
then prevalent, which had already provoked the sneers of Horace,
and afterward drew down the more majestic condemnation of
Juvenal. He draws a vivid picture of these depraved poets, who
pander to the gross lusts of their hearers by their lascivious
strains. Their affectation of speech and manner, their costly
and effeminate dress, the vanity of their exalted seat, and
the degraded character of their compositions; and on the other
hand, the excessive and counterfeited applause of their hearers,
expressed by extravagance of language and lasciviousness of
gesture corresponding to the nature of the compositions, are
touched with a masterly hand. He then ridicules the pretensions
of these courtly votaries of the Muses, whose vanity is fostered
by the interested praise of dependents and sycophants, who are
the first to ridicule them behind their backs. He then makes a
digression to the bar; and shows that the manly and vigorous
eloquence of Cicero and Hortensius and Cato, as well as the
masculine energy and dignity of Virgil, is frittered away, and
diluted by the introduction of redundant and misplaced metaphor,
labored antitheses, trifling conceits, accumulated epithets, and
bombastic and obsolete words, and a substitution of rhetorical
subtleties for that energetic simplicity which speaks _from_ and
_to_ the heart. Returning to the poets, he brings in a passage
of Nero's own composition as a most glaring example of these
defects. This excites his friend's alarm, and elicits some
cautious advice respecting the risk he encounters; which serves
to draw forth a more daring avowal of his bold purpose, and an
animated description of the persons whom he would wish to have
for his readers.
PERSIUS. "Oh the cares of men! [1181] Oh how much vanity is there in
human affairs! "--
ADVERSARIUS. [1182] Who will read this? [1183]
P. Is it to me you say this?
A. Nobody, by Hercules!
P. Nobody! Say two perhaps, or--
A. Nobody. It is mean and pitiful stuff!
P. Wherefore? No doubt "Polydamas[1184] and Trojan dames" will prefer
Labeo to me--
A. It is all stuff!
P. Whatever turbid Rome[1185] may disparage, do not thou join their
number; nor by that scale of theirs seek to correct thy own false
balance, nor seek[1186] thyself out of thyself. For who is there
at Rome that is not[1187]--Ah! if I might but speak! [1188] But I
may,[1189] when I look at our gray hairs,[1190] and our severe way
of life, and all that we commit since we abandoned our childhood's
nuts. [1191] When we savor of uncles,[1192] then--then forgive!
A. I will not!
P. What must I do? [1193] For I am a hearty laugher with a saucy spleen.
We write, having shut ourselves in,[1194] one man verses, another free
from the trammels of metre, something grandiloquent, which the lungs
widely distended with breath may give vent to.
And this, of course, some day, with your hair combed and a new
toga,[1195] all in white with your birthday Sardonyx,[1196] you
will read out from your lofty seat,[1197] to the people, when you
have rinsed[1198] your throat, made flexible by the liquid gargle;
languidly leering with lascivious eye! Here you may see the tall
Titi[1199] in trembling excitement, with lewdness of manner and
agitation of voice, when the verses enter their loins,[1200] and their
inmost parts are titillated with the lascivious strain.
P. And dost thou, in thy old age,[1201] collect dainty bits for the
ears of others? Ears to which even thou, bursting[1202] with vanity,
wouldst say, "Hold, enough! "
A. To what purpose is your learning, unless this leaven, and this wild
fig-tree[1203] which has once taken life within, shall burst through
your liver and shoot forth?
P. See that pallor and premature old age! [1204] Oh Morals! [1205] Is
then your knowledge so absolutely naught, unless another know you have
that knowledge? [1206]
A. But it is a fine thing to be pointed at with the finger,[1207]
and that it should be said, "That's he! " Do you value it at
nothing, that your works should form the studies[1208] of a hundred
curly-headed[1209] youths?
P. See! [1210] over their cups,[1211] the well-filled Romans[1212]
inquire of what the divine poems tell. Here some one, who has
a hyacinthine robe round his shoulders, snuffling through his
nose[1213] some stale ditty, distills and from his dainty palate
lisps trippingly[1214] his Phyllises,[1215] Hypsipyles, and all the
deplorable strains of the poets. The heroes hum assent! [1216] Now are
not the ashes[1217] of the poet blest? Does not a tomb-stone press
with lighter weight[1218] upon his bones? The guests applaud. Now
from those Manes of his, now from his tomb and favored ashes, will not
violets spring? [1219]
A. You are mocking and indulging in too scornful a sneer. [1220] Lives
there the man who would disown the wish to deserve the people's
praise,[1221] and having uttered words worthy of the cedar,[1222]
to leave behind him verses that dread neither herrings[1223] nor
frankincense?
P. Whoever thou art that hast just spoken, and that hast a fair
right[1224] to plead on the opposite side, I, for my part, when I
write, if any thing perchance comes forth[1225] aptly expressed (though
this is, I own, a rare bird[1226]), yet if any thing does come forth,
I would not shrink from being praised: for indeed my heart is not of
horn. But I deny that that "excellently! " and "beautifully! "[1227] of
yours is the end and object of what is right. For sift thoroughly
all this "beautifully! " and what does it not comprise within it! Is
there not to be found in it the Iliad of Accius,[1228] intoxicated
with hellebore? are there not all the paltry sonnets our crude[1229]
nobles have dictated? in fine, is there not all that is composed on
couches of citron? [1230] You know how to set before your guests the hot
paunch;[1231] and how to make a present of your threadbare cloak to
your companion shivering with cold,[1232] and then you say, "I do love
the truth! [1233] tell me the truth about myself! " How is that possible?
Would you like me to tell it you? Thou drivelest,[1234] Bald-pate,
while thy bloated paunch projects a good foot and a half hanging in
front! O Janus! whom no stork[1235] pecks at from behind, no hand that
with rapid motion imitates the white ass's ears, no tongue mocks,
projecting as far as that of the thirsting hound of Apulia! Ye, O
patrician blood! [1236] whose privilege[1237] it is to live with no eyes
at the back of your head, prevent[1238] the scoffs[1239] that are made
behind your back!
What is the people's verdict? What should it be, but that now at length
verses flow in harmonious numbers, and the skillful joining[1240]
allows the critical nails to glide over its polished surface: he
knows how to carry on his verse as if he were drawing a ruddle line
with one eye[1241] closed. Whether he has occasion to write against
public morals, against luxury, or the banquets of the great, the Muses
vouchsafe to our Poet[1242] the saying brilliant things. And see! now
we see those introducing heroic[1243] sentiments, that were wont to
trifle in Greek: that have not even skill enough to describe a grove.
Nor praise the bountiful country, where are baskets,[1244] and the
hearth, and porkers, and the smoky palilia with the hay: whence Remus
sprung, and thou, O Quintius,[1245] wearing away the plow-boards in
the furrow, when thy wife with trembling haste invested thee with
the dictatorship in front of thy team, and the lictor bore thy plow
home--Bravo, poet!
Some even now delight in the turgid book of Brisæan Accius,[1246] and
in Pacuvius, and warty[1247] Antiopa, "her dolorific heart propped up
with woe. " When you see purblind sires instilling these precepts into
their sons, do you inquire whence came this gallimaufry[1248] of speech
into our language? Whence that disgrace,[1249] in which the effeminate
Trossulus[1250] leaps up in ecstasy at you, from his bench.
Are you not ashamed[1251] that you can not ward off danger from a
hoary head, without longing to hear the lukewarm "Decently[1252] said! "
"You are a thief! " says the accuser to Pedius. What says Pedius? [1253]
He balances the charge in polished antitheses. He gets the praise of
introducing learned figures. "That is fine! " Fine, is it? [1254] O
Romulus, dost thou wag thy tail? [1255] Were the shipwrecked man to
sing, would he move my pity, forsooth, or should I bring forth my
penny? Do you sing, while you are carrying about a picture[1256] of
yourself on a fragment of wood, hanging from your shoulders. He that
aims at bowing me down by his piteous complaint, must whine out what is
real,[1257] and not studied and got up of a night.
A. But the numbers have grace, and crude as you call them, there is a
judicious combination.
P. He has learned thus to close his line. "Berecynthean Atys;"[1258]
and, "The Dolphin that clave the azure Nereus. " So again, "We filched
away a chine from long-extending Apennine. "
A. "Arms and the man. "[1259] Is not this frothy, with a pithless rind?
P. Like a huge branch, well seasoned, with gigantic bark!
A. What then is a tender strain, and that should be read with neck
relaxed? [1260]
P. "With Mimallonean[1261] hums they filled their savage horns; and
Bassaris, from the proud steer about to rive the ravished head, and
Mænas, that would guide the lynx with ivy-clusters, re-echoes Evion;
and reproductive Echo reverberates the sound! " Could such verses be
written, did one spark of our fathers' vigor still exist in us? This
nerveless stuff dribbles on the lips, on the topmost spittle. In drivel
vests this Mænas and Attis. It neither beats the desk,[1262] nor savors
of bitten nails.
A. But what need is there to grate on delicate ears with biting truth?
Take care, I pray, lest haply the thresholds of the great[1263] grow
cold to you. Here the dog's letter[1264] sounds from the nostril. For
me[1265] then, henceforth, let all be white. I'll not oppose it. Bravo!
For you shall all be very wonderful productions! Does that please you?
"Here, you say, I forbid any one's committing a nuisance. " Then paint
up two snakes. Boys, go farther away: the place is sacred! I go away.
P. Yet Lucilius lashed[1266] the city, and thee, O Lupus,[1267]
and thee too, Mucius,[1268] and broke his jaw-bone[1269] on them.
Sly Flaccus touches every failing of his smiling friend, and, once
admitted, sports around his heart; well skilled in sneering[1270] at
the people with well-dissembled[1271] sarcasm. And is it then a crime
for me to mutter, secretly, or in a hole?
A. You must do it nowhere.
P. Yet here I will bury it! I saw, I saw with my own[1272] eyes, my
little book! Who has not asses' ears? [1273] This my buried secret, this
my sneer, so valueless, I would not sell you for any Iliad. [1274]
Whoever thou art, that art inspired[1275] by the bold Cratinus, and
growest pale over the wrathful Eupolis and the old man sublime, turn
thine eyes on these verses also, if haply thou hearest any thing more
refined. [1276] Let my reader glow with ears warmed by their strains.
Not he that delights, like a mean fellow as he is, in ridiculing the
sandals of the Greeks, and can say to a blind man, Ho! you blind
fellow! Fancying himself to be somebody, because vain[1277] of his
rustic honors, as Ædile[1278] of Arretium,[1279] he breaks up the
false measures[1280] there. Nor again, one who has just wit enough to
sneer at the arithmetic boards,[1281] and the lines in the divided
dust; quite ready to be highly delighted, if a saucy wench[1282]
plucks[1283] a Cynic's[1284] beard. To such as these I recommend[1285]
the prætor's edict[1286] in the morning, and after dinner--Callirhoe.
FOOTNOTES:
[1181] _Oh curas! _ These are the opening lines of his Satire, which
Persius is reading aloud, and is interrupted by his "Adversarius. " He
represents himself as having meditated on all mundane things, and,
like Solomon, having discovered their emptiness, "Vanitas vanitatum! "
Cf. Juv. , Sat. i. , 85, "Quidquid agunt homines, votum, timor, ira,
voluptas, Gaudia, discursus; nostri est farrago libelli. " It is an
adaptation of the old Greek proverb, ὅσον τὸ κένον.
[1182] _Adversarius. _ "Interpretes plerique hunc Persii amicum seu
monitorem volunt: ego vero et morosum adversarium, et ridiculum senem
intelligo. " D'Achaintre.
[1183] _Quis legit hæc? _ The old Gloss. says this line is taken from
the first book of Lucilius.
[1184] _Næ mihi Polydamas. _ Taken from Hector's speech, where he dreads
the reproaches of his brother-in-law Polydamas, and the Trojan men
and women, if he were to retire within the walls of Troy. Il. , x. ,
105, 108, Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει--αἰδέομαι Τρῶας καὶ
Τρωάδας ἑλκεσιπέπλους. Cicero has introduced the same lines in his
Epistle to Atticus: "Aliter sensero? αἰδέομαι non Pompeium modo, sed
Τρῶας καὶ Τρωάδας· Πουλυδάμας μοι πρῶτος ἐλεγχείην ἀναθήσει: Quis? Tu
ipse scilicet; laudator et scriptorum et factorum meorum," vii. , 1. By
Polydamas, he intends Nero; by Troïades, the effeminate Romans, who
prided themselves on their Trojan descent. Cf. Juv. , i. , 100, "Jubet a
præcone vocari ipsos Trojugenas. " viii. , 181, "At vos Trojugenæ vobis
ignoscitis, et quæ turpia cerdoni Volesos Brutosque decebunt. " Attius
Labeo was a miserable court-poet, a favorite of Nero, who applied
himself to translate Homer word for word. Casaubon gives the following
specimen of his poetry: "Crudum manduces Priamum, Priamique pisinnos. "
[1185] _Turbida Roma. _ "Muddy, not clear in its judgment. " A metaphor
from thick, troubled waters. Persius now addresses himself, and uses
the second person. "Though Rome in its perverted judgment should
disparage my writings, I will not subscribe to its verdict, or seek
beyond my own breast for rules to guide my course of action. " _Elevet_,
_examen_, _trutina_, are all metaphors from a steelyard or balance.
Trutina is the aperture in the iron that supports the balance, in which
the examen, i. e. , the tongue (hasta, lingula), plays. Elevare is
said of that which causes the lanx of the balance to "kick the beam.
