Ars Poetica
Latin: after Klingner / Wickham · English: after Conington
Cast as a verse-letter to the consul L. Calpurnius Piso and his two sons, the Ars Poetica is Horace's most ambitious essay on the craft of poetry. Drawing on the lost peri poiētikēs of Neoptolemus of Parium and on his own decades of composition, Horace ranges over unity of form, the propriety of style and meter to subject, the etiquette of the stage, the proper relation of ingenium and ars, and the social uses of poetry — closing with the famous portrait of the deranged poet from whom no one is safe. It became, through Quintilian and the Renaissance, the single most influential ancient treatise on writing.
Section ILines 1–23
Unity & Coherence
1
Humano capiti cervicem pictor equinam
Suppose a painter chose to set a horse's neck upon a human head,
2
iungere si velit et varias inducere plumas
and to spread feathers of every hue over limbs
3
undique collatis membris, ut turpiter atrum
gathered from every quarter, so that what was a lovely woman above
4
desinat in piscem mulier formosa superne,
tailed off grotesquely below into a hideous fish—
5
spectatum admissi, risum teneatis, amici?
could you, my friends, admitted to the show, refrain from laughing?
6
Credite, Pisones, isti tabulae fore librum
Believe me, Pisones, very like such a painting would be a book
7
persimilem, cuius, velut aegri somnia, vanae
whose images, like the dreams of a sick man, are shaped
8
fingentur species, ut nec pes nec caput uni
as idle fancies, so that neither foot nor head can be assigned
9
reddatur formae. "Pictoribus atque poetis
to a single form. "To painters and to poets
10
quidlibet audendi semper fuit aequa potestas."
the daring of anything has always been an equal right."
11
Scimus, et hanc veniam petimusque damusque vicissim,
We know it, and we both ask and grant this license in turn—
12
sed non ut placidis coeant immitia, non ut
but not so that the savage be paired with the gentle, not so that
13
serpentes avibus geminentur, tigribus agni.
serpents be mated with birds, lambs with tigers.
14
Inceptis gravibus plerumque et magna professis
Onto grand beginnings and weighty professions
15
purpureus, late qui splendeat, unus et alter
one or two purple patches, to gleam afar, are stitched on—
16
adsuitur pannus, cum lucus et ara Dianae
the grove and altar of Diana,
17
et properantis aquae per amoenos ambitus agros
or the winding course of hurrying water through pleasant fields,
18
aut flumen Rhenum aut pluvius describitur arcus;
or the river Rhine, or a rainbow are described;
19
sed nunc non erat his locus. Et fortasse cupressum
but here was no place for them. Perhaps you know how
20
scis simulare; quid hoc, si fractis enatat exspes
to imitate a cypress; what use is that, if you are paid to paint a man
21
navibus, aere dato qui pingitur? Amphora coepit
swimming in despair from a wreck? An amphora was begun:
22
institui; currente rota cur urceus exit?
why, as the wheel runs round, does a pitcher come out instead?
23
Denique sit quod vis, simplex dumtaxat et unum.
In short, let your work be whatever you please—but simple and one.
Section IILines 24–72
Subject, Order & Diction
24
Maxima pars vatum, pater et iuvenes patre digni,
Most of us poets, father and sons worthy of such a father,
25
decipimur specie recti. Brevis esse laboro,
are deceived by the show of right. I labor to be brief,
26
obscurus fio; sectantem levia nervi
I become obscure; sinews and spirit fail
27
deficiunt animique; professus grandia turget;
him who pursues smoothness; one who professes grandeur grows turgid;
28
serpit humi tutus nimium timidusque procellae;
another creeps along the ground, too cautious, in dread of every gust;
29
qui variare cupit rem prodigialiter unam,
one who longs to vary a single theme prodigiously
30
delphinum silvis adpingit, fluctibus aprum.
paints dolphins in the woods, wild boars upon the waves.
31
In vitium ducit culpae fuga, si caret arte.
Flight from a fault, if it lacks art, leads into vice.
32
Aemilium circa ludum faber imus et unguis
Near the Aemilian school the lowliest craftsman will mold
33
exprimet et mollis imitabitur aere capillos,
the nails and copy soft hair in bronze,
34
infelix operis summa, quia ponere totum
yet hapless in the sum of his work, since he cannot put together
35
nesciet. Hunc ego me, siquid componere curem,
the whole. Were I bent on composing aught, I should no more wish
36
non magis esse velim quam naso vivere pravo
to be that man than to live with my nose awry,
37
spectandum nigris oculis nigroque capillo.
though admired for my dark eyes and dark hair.
38
Sumite materiam vestris, qui scribitis, aequam
Choose, you who write, a subject equal to your strength,
39
viribus et versate diu quid ferre recusent,
and weigh long what your shoulders refuse to bear,
40
quid valeant umeri. Cui lecta potenter erit res,
what they can. He who has chosen a theme within his powers
41
nec facundia deseret hunc, nec lucidus ordo.
shall not be forsaken by eloquence, nor by lucid order.
42
Ordinis haec virtus erit et venus, aut ego fallor,
The virtue and grace of order shall lie, unless I am mistaken, in this:
43
ut iam nunc dicat iam nunc debentia dici,
that the poet say at this moment what at this moment must be said,
44
pleraque differat et praesens in tempus omittat,
defer most things, and pass them over for the present,
45
hoc amet, hoc spernat promissi carminis auctor.
favor this, reject that—the author of the promised song.
46
In verbis etiam tenuis cautusque serendis
And in choosing words also be subtle and discriminating;
47
dixeris egregie, notum si callida verbum
you will have spoken with distinction if a clever combination
48
reddiderit iunctura novum. Si forte necesse est
renders a familiar word new. If, perchance, it is necessary
49
indiciis monstrare recentibus abdita rerum, et
to display by recent terms what is hidden, you will be granted
50
fingere cinctutis non exaudita Cethegis
license to coin words unheard by the kilt-girt Cethegi—
51
continget dabiturque licentia sumpta pudenter,
and the license, modestly used, will be allowed,
52
et nova fictaque nuper habebunt verba fidem, si
and new and freshly-made words will gain credit, if
53
Graeco fonte cadent parce detorta. Quid autem
they fall sparingly drawn from a Greek source. What, then,
54
Caecilio Plautoque dabit Romanus, ademptum
shall a Roman deny to Caecilius and Plautus, when granted to
55
Vergilio Varioque? Ego cur, adquirere pauca
Vergil and Varius? Why am I begrudged, if I can
56
si possum, invideor, cum lingua Catonis et Enni
acquire a few new words, when the tongue of Cato and Ennius
57
sermonem patrium ditaverit et nova rerum
enriched our native speech and brought forth new names
58
nomina protulerit? Licuit semperque licebit
for things? It has been—and always shall be—lawful
59
signatum praesente nota producere nomen.
to put forth a word stamped with the present coinage.
60
Vt silvae foliis pronos mutantur in annos,
As forests change their leaves with each declining year,
61
prima cadunt, ita verborum vetus interit aetas,
the first to fall, so the old generation of words perishes,
62
et iuvenum ritu florent modo nata vigentque.
and like the young, the newly-born flower and flourish.
63
Debemur morti nos nostraque. Sive receptus
We are owed to death, we and our works. Whether Neptune,
64
terra Neptunus classes Aquilonibus arcet,
received within the land, shelters fleets from the north winds—
65
regis opus, sterilisue diu palus aptaque remis
a king's emprise—or a marsh long sterile and fit for oars
66
vicinas urbes alit et grave sentit aratrum,
feeds neighboring towns and feels the heavy plow,
67
seu cursum mutavit iniquom frugibus amnis,
or whether a river, taught a better course, has shifted
68
doctus iter melius, mortalia facta peribunt,
its channel that was harmful to the harvests, mortal works shall perish—
69
nedum sermonem stet honos et gratia vivax.
much less shall the honor and the lively grace of speech endure.
70
Multa renascentur quae iam cecidere, cadentque
Many words shall be reborn that have already fallen, and many shall fall
71
quae nunc sunt in honore vocabula, si volet usus,
that now are in honor, if usage so wills—
72
quem penes arbitrium est et ius et norma loquendi.
in whose hand lie the judgment, the law, and the rule of speech.
Section IIILines 73–98
Meters by Genre
73
Res gestae regumque ducumque et tristia bella
How the deeds of kings and captains and the sorrows of war
74
quo scribi possent numero, monstravit Homerus.
could be written, Homer has shown, in what measure.
75
Versibus impariter iunctis querimonia primum,
In couplets unequally joined, lament was first set;
76
post etiam inclusa est voti sententia compos;
afterwards also was enclosed a thanksgiving for prayer fulfilled;
77
quis tamen exiguos elegos emiserit auctor,
yet what author first put forth those slim elegies,
78
grammatici certant et adhuc sub iudice lis est.
the grammarians dispute, and the case is still under judgment.
79
Archilochum proprio rabies armavit iambo;
Rage armed Archilochus with the iambus he made his own;
80
hunc socci cepere pedem grandesque coturni,
this foot the comic sock and the lofty buskin took up,
81
alternis aptum sermonibus et popularis
well-fitted for alternating dialogue, and able to drown
82
vincentem strepitus et natum rebus agendis.
the popular din, and born for action.
83
Musa dedit fidibus divos puerosque deorum
The Muse gave to the lyre to celebrate gods and the sons of gods,
84
et pugilem victorem et equom certamine primum
the victorious boxer and the horse first in the race,
85
et iuvenum curas et libera vina referre.
the longings of youth and free-flowing wine.
86
Discriptas servare vices operumque colores
If I cannot, do not even know, the assigned offices and colors of works,
87
cur ego, si nequeo ignoroque, poeta salutor?
why am I hailed as a poet?
88
Cur nescire pudens prave quam discere malo?
Why, in my false shame, do I prefer not to know rather than to learn?
89
Versibus exponi tragicis res comica non vult;
Comic matter refuses to be set forth in tragic verse;
90
indignatur item privatis ac prope socco
it is unbecoming likewise that the feast of Thyestes be told
91
dignis carminibus narrari cena Thyestae.
in everyday measures fit almost for the comic sock.
92
Singula quaeque locum teneant sortita decentem.
Let each part keep its own seemly place, drawn by lot.
93
Interdum tamen et vocem comoedia tollit,
Yet at times even comedy raises its voice,
94
iratusque Chremes tumido delitigat ore;
and angry Chremes scolds with swelling tone;
95
et tragicus plerumque dolet sermone pedestri
and the tragic figure often laments in the language of common life:
96
Telephus et Peleus, cum pauper et exul uterque
Telephus and Peleus, when both are poor and exiled,
97
proicit ampullas et sesquipedalia verba,
cast aside their bombast and yard-long words,
98
si curat cor spectantis tetigisse querella.
if they care to touch the spectator's heart with their plaint.
Section IVLines 99–127
Decorum
99
Non satis est pulchra esse poemata; dulcia sunto
It is not enough that poems be beautiful; let them be sweet
100
et, quocumque volent, animum auditoris agunto.
and lead the hearer's mind whither they will.
101
Vt ridentibus adrident, ita flentibus adsunt
As human faces smile on those who smile, so they weep with the weeping;
102
humani voltus; si vis me flere, dolendum est
if you would have me weep, you must first feel grief
103
primum ipsi tibi; tum tua me infortunia laedent,
yourself; then your misfortunes shall hurt me,
104
Telephe vel Peleu; male si mandata loqueris,
Telephus or Peleus; if you mouth your part badly,
105
aut dormitabo aut ridebo. Tristia maestum
I shall either doze or laugh. Sad words befit
106
voltum verba decent, iratum plena minarum,
a sorrowful face, an angry one full of threats,
107
ludentem lasciva, severum seria dictu.
wanton words the playful, grave words the severe.
108
Format enim natura prius non intus ad omnem
For Nature first shapes us within to every
109
fortunarum habitum; iuvat aut impellit ad iram,
turn of fortune; she gladdens or drives to anger,
110
aut ad humum maerore gravi deducit et angit;
or with grievous sorrow brings us low and chokes us;
111
post effert animi motus interprete lingua.
afterwards she utters the soul's emotions through the tongue's interpreter.
112
Si dicentis erunt fortunis absona dicta,
If a speaker's words ill match his fortunes,
113
Romani tollent equites peditesque cachinnum.
the Roman knights and footmen will burst into laughter.
114
Intererit multum, divosne loquatur an heros,
It will matter much whether a god speaks, or a hero,
115
maturusne senex an adhuc florente iuventa
a ripe old man or one still ardent in the bloom
116
fervidus, et matrona potens an sedula nutrix,
of youth, a great matron or a busy nurse,
117
mercatorne vagus cultorne virentis agelli,
a roving merchant or the tiller of a green plot,
118
Colchus an Assyrius, Thebis nutritus an Argis.
a Colchian or an Assyrian, one bred at Thebes or at Argos.
119
Aut famam sequere aut sibi convenientia finge
Either follow tradition, or invent things consistent with themselves,
120
scriptor. Honoratum si forte reponis Achillem,
you the writer. If you bring back honored Achilles,
121
impiger, iracundus, inexorabilis, acer
let him be tireless, hot-tempered, inexorable, fierce;
122
iura neget sibi nata, nihil non arroget armis.
let him deny that laws are made for him, claim everything by arms.
123
Sit Medea ferox invictaque, flebilis Ino,
Let Medea be savage and unconquered, Ino tearful,
124
perfidus Ixion, Io vaga, tristis Orestes.
Ixion treacherous, Io a wanderer, Orestes melancholy.
125
Siquid inexpertum scaenae committis et audes
If you commit anything untried to the stage and dare
126
personam formare novam, servetur ad imum
to shape a new character, let it be kept to the end
127
qualis ab incepto processerit et sibi constet.
such as it set out from the start, and remain consistent with itself.
Section VLines 128–152
Originality; In Medias Res
128
Difficile est proprie communia dicere, tuque
It is hard to treat the common matter in your own way; and you do better
129
rectius Iliacum carmen deducis in actus
to draw an Iliadic theme into acts
130
quam si proferres ignota indictaque primus.
than to bring forth what is unknown and unsung.
131
Publica materies privati iuris erit, si
Public material shall become your private property, if
132
non circa vilem patulumque moraberis orbem,
you do not dwell on a cheap and spreading round,
133
nec verbo verbum curabis reddere fidus
nor as a faithful translator strive to render
134
interpres nec desilies imitator in artum,
word for word, nor leap, an imitator, into a corner
135
unde pedem proferre pudor vetet aut operis lex.
from which shame or the law of your work forbids you to step.
136
Nec sic incipies, ut scriptor cyclicus olim:
Nor begin in the manner of the cyclic poet of old:
137
"Fortunam Priami cantabo et nobile bellum".
"Of Priam's fortune shall I sing, and the noble war."
138
Quid dignum tanto feret hic promissor hiatu?
What worthy of so vast a gape will this promiser bring forth?
139
Parturient montes, nascetur ridiculus mus.
Mountains shall labor; a ridiculous mouse shall be born.
140
Quanto rectius hic, qui nil molitur inepte:
How much better he, who attempts nothing ineptly:
141
"Dic mihi, Musa, virum, captae post tempora Troiae
"Tell me, Muse, of the man who, after the fall of Troy,
142
qui mores hominum multorum vidit et urbes".
saw the manners and the cities of many men."
143
Non fumum ex fulgore, sed ex fumo dare lucem
Not from a flash to make smoke, but from smoke to bring forth
144
cogitat, ut speciosa dehinc miracula promat,
light he plans, that he may then unfold splendid wonders—
145
Antiphaten Scyllamque et cum Cyclope Charybdim.
Antiphates, and Scylla, and with the Cyclops Charybdis.
146
Nec reditum Diomedis ab interitu Meleagri,
Nor does he begin Diomedes' return from the death of Meleager,
147
nec gemino bellum Troianum orditur ab ovo;
nor the Trojan war from the twin egg;
148
semper ad eventum festinat et in medias res
ever he hastens to the issue, and into the midst of things
149
non secus ac notas auditorem rapit, et quae
he hurries the listener as if to the known, and what he despairs
150
desperat tractata nitescere posse relinquit,
of being able to make shine when handled, he leaves alone,
151
atque ita mentitur, sic veris falsa remiscet,
and so feigns, so blends false with true,
152
primo ne medium, medio ne discrepet imum.
that the middle does not jar with the first, nor the end with the middle.
Section VILines 153–188
The Ages of Man; Action
153
Tu quid ego et populus mecum desideret audi,
Hear what I and the people with me desire,
154
si plosoris eges aulaea manentis et usque
if you wish for an applauder who waits for the curtain to rise and stays
155
sessuri donec cantor. "Vos plaudite" dicat.
till the cantor calls "You, applaud!"
156
Aetatis cuiusque notandi sunt tibi mores,
The manners of every age must be marked by you,
157
mobilibusque decor naturis dandus et annis.
and decorum given to the changing temperaments and years.
158
Reddere qui voces iam scit puer et pede certo
The boy who can already utter words and treads the ground
159
signat humum, gestit paribus conludere et iram
with sure foot delights to play with his peers, conceives anger
160
colligit ac ponit temere et mutatur in horas.
and lays it down without cause, and changes hour by hour.
161
inberbus iuvenis tandem custode remoto
The beardless youth, his guardian at last withdrawn,
162
gaudet equis canibusque et aprici gramine Campi,
rejoices in horses and dogs and the grass of the sunny Campus;
163
cereus in vitium flecti, monitoribus asper,
as wax he is bent toward vice, harsh to those who would correct him,
164
utilium tardus provisor, prodigus aeris,
slow to provide for what is useful, lavish of money,
165
sublimis cupidusque et amata relinquere pernix.
lofty in spirit, full of desire, and quick to leave what he loved.
166
Conversis studiis aetas animusque virilis
With pursuits altered, the years and mind of manhood
167
quaerit opes et amicitias, inservit honori,
seek wealth and friendships, attend to honor,
168
commisisse cavet quod mox mutare laboret.
are wary of committing what soon must be undone.
169
Multa senem circumveniunt incommoda, vel quod
Many discomforts beset the old man, either because he
170
quaerit et inventis miser abstinet ac timet uti,
seeks gain, and miserly abstains from what he has won and dreads to use it,
171
vel quod res omnis timide gelideque ministrat,
or because he handles all things timidly and coldly,
172
dilator, spe longus, iners avidusque futuri,
a procrastinator, hopeful for the long term, sluggish, greedy of the future,
173
difficilis, querulus, laudator temporis acti
peevish, querulous, a praiser of times past
174
se puero, castigator censorque minorum.
when he was a boy, censor and critic of his juniors.
175
Multa ferunt anni venientes commoda secum,
Many goods the advancing years bring with them,
176
multa recedentes adimunt. Ne forte seniles
many they take away as they recede. Lest by chance the parts of an old man
177
mandentur iuveni partes pueroque viriles;
be assigned to a youth, or those of a man to a boy,
178
semper in adiunctis aevoque morabitur aptis.
let our portrayal dwell ever on what suits the age.
179
Aut agitur res in scaenis aut acta refertur.
Either the matter is acted on the stage, or reported as already done.
180
Segnius inritant animos demissa per aurem
What is heard through the ear stirs the mind less keenly
181
quam quae sunt oculis subiecta fidelibus et quae
than what is set before our trustworthy eyes, and what
182
ipse sibi tradit spectator; non tamen intus
the spectator himself reports to himself; yet you will not bring forth
183
digna geri promes in scaenam multaque tolles
into view what should be done within, and you will withdraw from sight
184
ex oculis, quae mox narret facundia praesens.
much that present eloquence may soon report.
185
Ne pueros coram populo Medea trucidet,
Let Medea not slay her boys before the people,
186
aut humana palam coquat exta nefarius Atreus,
nor wicked Atreus cook human flesh in public,
187
aut in avem Procne vertatur, Cadmus in anguem.
nor Procne be turned into a bird, Cadmus into a serpent.
188
Quodcumque ostendis mihi sic, incredulus odi.
Whatever you show me thus I disbelieve and abhor.
Section VIILines 189–219
Five Acts, Chorus & Music
189
Neve minor neu sit quinto productior actu
Let no play be shorter or longer drawn out than five acts,
190
fabula, quae posci volt et spectanda reponi;
if it expects to be called for and brought back for repeat performance;
191
nec deus intersit, nisi dignus vindice nodus
let no god intervene, unless a knot worthy of such a redeemer
192
inciderit; nec quarta loqui persona laboret.
has fallen out; nor let a fourth person labor to speak.
193
Actoris partis chorus officiumque virile
Let the chorus uphold the role and manly office
194
defendat, neu quid medios intercinat actus,
of an actor, nor sing anything between the acts
195
quod non proposito conducat et haereat apte.
that does not contribute to the matter and fitly cohere.
196
Ille bonis faveatque et consilietur amice
Let it favor the good and counsel them as a friend,
197
et regat iratos et amet peccare timentis;
calm the angry, love those who fear to sin;
198
ille dapes laudet mensae brevis, ille salubrem
let it praise the dishes of a frugal table, wholesome
199
iustitiam legesque et apertis otia portis;
justice and the laws and peace with open gates;
200
ille tegat commissa deosque precetur et oret,
let it cover what is confided, and pray to the gods and beseech them
201
ut redeat miseris, abeat Fortuna superbis.
that Fortune return to the wretched and depart from the proud.
202
Tibia non, ut nunc, orichalco vincta tubaeque
The flute, not as now bound with brass and rivaling the trumpet,
203
aemula, sed tenuis simplexque foramine pauco
but slender and simple, with few stops,
204
adspirare et adesse choris erat utilis atque
served to breathe with the chorus and to lend its presence,
205
nondum spissa nimis complere sedilia flatu,
and to fill with its notes the not-yet-too-crowded benches,
206
quo sane populus numerabilis, utpote parvos,
where the people gathered, easily counted because few,
207
et frugi castusque verecundusque coibat.
thrifty, chaste, and modest.
208
Postquam coepit agros extendere victor et urbes
But after the conqueror began to extend his fields, and a wider wall
209
latior amplecti murus vinoque diurno
embraced his cities, and the Genius was appeased
210
placari Genius festis impune diebus,
with daytime wine on holidays without rebuke,
211
accessit numerisque modisque licentia maior.
a greater license came to numbers and to modes.
212
Indoctus quid enim saperet liberque laborum
For what taste could the unschooled rustic have, free from labor,
213
rusticus urbano confusus, turpis honesto?
mingled in the urban crowd, the base with the noble?
214
Sic priscae motumque et luxuriem addidit arti
So the flautist added movement and luxury to the early art,
215
tibicen traxitque vagus per pulpita vestem;
and trailed his garment in his wandering across the boards;
216
sic etiam fidibus voces crevere severis
so too new tones grew out of austere strings,
217
et tulit eloquium insolitum facundia praeceps,
and a headlong eloquence brought unaccustomed utterance,
218
utiliumque sagax rerum et divina futuri
and a sage opinion of useful things and prophecy of the future
219
sortilegis non discrepuit sententia Delphis.
did not differ from the Delphic oracles.
Section VIIILines 220–250
Satyr Drama
220
Carmine qui tragico vilem certavit ob hircum,
He who first contended for a paltry he-goat with tragic song
221
mox etiam agrestis Satyros nudavit et asper
soon stripped naked his rustic Satyrs, and rough,
222
incolumi gravitate iocum temptavit eo quod
with gravity unimpaired, attempted jest, because by allurement
223
inlecebris erat et grata novitate morandus
the spectator, having performed the rites and being half-drunk and lawless,
224
spectator functusque sacris et potus et exlex.
was to be detained by welcome novelty.
225
Verum ita risores, ita commendare dicacis
But it will be fitting so to commend the laughing, so the satirical
226
conveniet Satyros, ita vertere seria ludo,
Satyrs, so to turn earnest into sport,
227
ne quicumque deus, quicumque adhibebitur heros,
that no god, no hero brought on stage—
228
regali conspectus in auro nuper et ostro,
lately seen in regal gold and purple—
229
migret in obscuras humili sermone tabernas,
shall pass into the obscure language of low taverns,
230
aut, dum vitat humum, nubes et inania captet.
or, in shunning the ground, snatch at clouds and empty air.
231
Effutire levis indigna tragoedia versus,
Tragedy, scorning to babble light verses,
232
ut festis matrona moveri iussa diebus,
like a matron bidden to dance on holidays,
233
intererit Satyris paulum pudibunda protervis.
shall move with some modesty amid the wanton Satyrs.
234
Non ego inornata et dominantia nomina solum
I, the writer of Satyric drama, shall not love
235
verbaque, Pisones, Satyrorum scriptor amabo,
only ungarnished and prevailing nouns, Pisones,
236
nec sic enitar tragico diferre colori
and words; nor shall I so strive to differ from the tragic color
237
ut nihil intersit Davusne loquatur et audax
that it makes no difference whether Davus speak, or bold
238
Pythias, emuncto lucrata Simone talentum,
Pythias, who has cheated Simo of a talent,
239
an custos famulusque dei Silenus alumni.
or Silenus, the guardian and attendant of the god his pupil.
240
Ex noto fictum carmen sequar, ut sibi quivis
From a known matter I shall fashion my song, so that anyone
241
speret idem, sudet multum frustraque laboret
may hope the same; sweat much, and labor in vain
242
ausus idem; tantum series iuncturaque pollet,
should he attempt the same; so much avail the order and the joining,
243
tantum de medio sumptis accedit honoris.
so much honor accrues to what is borrowed from the common stock.
244
Silvis deducti caveant me iudice Fauni
Let Fauns drawn from the woods take care, in my judgment,
245
ne, velut innati triviis ac paene forenses,
lest, as if born at the crossroads and almost of the Forum,
246
aut nimium teneris iuvenentur versibus unquam
they should ever play the dandy in too youthful verses,
247
aut inmunda crepent ignominiosaque dicta;
or rattle off filthy and shameful words;
248
offenduntur enim quibus est equos et pater et res,
for those whose father is a knight, and who have means, take offense,
249
nec, siquid fricti ciceris probat et nucis emptor,
and what the buyer of roasted chickpea and walnut approves,
250
aequis accipiunt animis donantve corona.
they will not receive with calm minds, nor crown with the wreath.
Section IXLines 251–294
Iambic Meter & Greek Models
251
Syllaba longa brevi subiecta vocatur iambus,
A long syllable joined to a short is called an iambus,
252
pes citus; unde etiam trimetris adcrescere iussit
a swift foot; whence it bade the trimeters take on the name
253
nomen iambeis, cum senos redderet ictus,
of iambic, though it returned six beats,
254
primus ad extremum similis sibi; non ita pridem,
from first to last like itself; not very long ago,
255
tardior ut paulo graviorque veniret ad auris,
that it might come a little slower and weightier to the ear,
256
spondeos stabilis in iura paterna recepit
it took the steady spondees into its paternal rights,
257
commodus et patiens, non ut de sede secunda
obliging and patient, but not so as from the second seat
258
cederet aut quarta socialiter. Hic et in Acci
or the fourth to yield in friendly wise. Yet this iambus among Accius'
259
nobilibus trimetris adparet rarus, et Enni
noble trimeters appears but rarely; and the verses of Ennius
260
in scaenam missos cum magno pondere versus
sent upon the stage with weighty bulk
261
aut operae celeris nimium curaque carentis
press a charge of work too hasty and careless,
262
aut ignoratae premit artis crimine turpi.
or of art unknown — a shameful charge.
263
Non quivis videt inmodulata poemata iudex,
Not every judge sees verses unrhythmical;
264
et data Romanis venia est indigna poetis.
and undeserved indulgence has been granted to Roman poets.
265
Idcircone vager scribamque licenter? An omnis
Shall I therefore stray and write at random? Or shall I suppose
266
visuros peccata putem mea, tutus et intra
that all will see my faults, safe and cautious within
267
spem veniae cautus? Vitavi denique culpam,
the hope of pardon? I have at last avoided blame,
268
non laudem merui. Vos exemplaria Graeca
I have not earned praise. You — turn over the Greek models
269
nocturna versate manu, versate diurna.
by night, turn them over by day.
270
At vestri proavi Plautinos et numeros et
But your forefathers admired the Plautine numbers and
271
laudavere sales, nimium patienter utrumque,
his wit—too patiently both,
272
ne dicam stulte, mirati, si modo ego et vos
not to say foolishly—if only you and I
273
scimus inurbanum lepido seponere dicto
know how to set the boorish apart from the witty word
274
legitimumque sonum digitis callemus et aure.
and grasp the lawful sound by finger and by ear.
275
Ignotum tragicae genus invenisse Camenae
An unknown kind of song the tragic Camena is said to have
276
dicitur et plaustris vexisse poemata Thespis
invented; and Thespis is said to have carried his poems on wagons,
277
quae canerent agerentque peruncti faecibus ora.
to be sung and acted by men with faces smeared with lees.
278
Post hunc personae pallaeque repertor honestae
After him, Aeschylus, inventor of the mask and the noble robe,
279
Aeschylus et modicis instravit pulpita tignis
laid a stage on modest beams,
280
et docuit magnumque loqui nitique coturno.
and taught grand speech and to walk in the tragic boot.
281
Successit vetus his comoedia, non sine multa
Old Comedy succeeded these, not without much
282
laude; sed in vitium libertas excidit et vim
praise; but its license fell into vice, and into a violence
283
dignam lege regi; lex est accepta chorusque
deserving the curb of law; the law was passed, and the chorus
284
turpiter obticuit sublato iure nocendi.
fell shamefully silent, its right of harming taken away.
285
Nil intemptatum nostri liquere poetae,
Our poets have left nothing untried,
286
nec minimum meruere decus vestigia Graeca
nor have they earned least credit who dared to leave
287
ausi deserere et celebrare domestica facta,
the Greek footsteps and to celebrate native deeds,
288
vel qui praetextas vel qui docuere togatas.
whether they brought us the praetexta or the togata.
289
Nec virtute foret clarisue potentius armis
Latium would not be more powerful in valor and bright arms
290
quam lingua Latium, si non offenderet unum
than in language, did not each of her poets
291
quemque poetarum limae labor et mora. Vos, o
shrink from the file's labor and the delay it costs. You, O
292
Pompilius sanguis, carmen reprehendite quod non
blood of Pompilius, censure that song which
293
multa dies et multa litura coercuit atque
many a day and many an erasure has not chastened,
294
praesectum deciens non castigavit ad unguem.
and which has not been pared ten times to the very nail.
Section XLines 295–332
Genius vs. Craft
295
Ingenium misera quia fortunatius arte
Because Democritus believes that genius is more fortunate than wretched art
296
credit et excludit sanos Helicone poetas
and shuts sane poets out of Helicon,
297
Democritus, bona pars non unguis ponere curat,
a good number do not trouble to pare a nail,
298
non barbam, secreta petit loca, balnea vitat;
to clip a beard, but seek lonely places, shun the baths;
299
nanciscetur enim pretium nomenque poetae,
for he will get the price and name of poet,
300
si tribus Anticyris caput insanabile nunquam
if his head, incurable by the three Anticyras, he never
301
tonsori Licino commiserit. O ego laevus
trusts to the barber Licinus. O luckless me,
302
qui purgor bilem sub verni temporis horam!
who am purged of bile when spring's hour comes!
303
Non alius faceret meliora poemata; verum
No other man would write better poems; but
304
nil tanti est. Ergo fungar vice cotis, acutum
nothing is so worthwhile. So I shall serve as a whetstone,
305
reddere quae ferrum valet exsors ipsa secandi;
which can give edge to iron though itself helpless to cut;
306
munus et officium, nil scribens ipse, docebo,
though writing nothing myself, I shall teach the office and duty,
307
unde parentur opes, quid alat formetque poetam,
whence resources are got, what nourishes and forms the poet,
308
quid deceat, quid non, quo virtus, quo ferat error.
what becomes him, what does not, where excellence leads, where error.
309
Scribendi recte sapere est et principium et fons.
To know what is right is the source and starting-point of writing well.
310
Rem tibi Socraticae poterunt ostendere chartae,
The Socratic pages can show you the matter,
311
verbaque provisam rem non invita sequentur.
and the words will not unwillingly follow the foreseen matter.
312
Qui didicit, patriae quid debeat et quid amicis,
Whoever has learned what he owes his country and friends,
313
quo sit amore parens, quo frater amandus et hospes,
with what love a parent, a brother, and a guest must be cherished,
314
quod sit conscripti, quod iudicis officium, quae
what is the duty of the senator, the judge, what
315
partes in bellum missi ducis, ille profecto
the part of a general sent to war—he, surely,
316
reddere personae scit convenientia cuique.
knows how to give to each character what is fitting.
317
Respicere exemplar vitae morumque iubebo
I shall bid the learned imitator look to the model of life
318
doctum imitatorem et vivas hinc ducere voces.
and manners, and draw his living tones from there.
319
Interdum speciosa locis morataque recte
Sometimes a play with brilliant set-pieces and good characterization,
320
fabula nullius veneris, sine pondere et arte,
though without charm, weight, or art,
321
valdius oblectat populum meliusque moratur
delights the people more strongly and holds them better
322
quam versus inopes rerum nugaeque canorae.
than verses void of substance and tuneful trifles.
323
Grais ingenium, Grais dedit ore rotundo
To the Greeks the Muse gave genius, gave round-mouthed speech,
324
Musa loqui, praeter laudem nullius avaris;
covetous of nothing but praise.
325
Romani pueri longis rationibus assem
Roman boys learn by long calculations to divide the as
326
discunt in partis centum diducere. "Dicat
into a hundred parts. "Let Albinus' son say:
327
filius Albini: si de quincunce remota est
if from a quincunx an ounce is taken,
328
uncia, quid superat?. . . Poteras dixisse. — Triens. — Eu!
what remains?... You could have answered." — "A triens." — "Bravo!
329
Rem poteris servare tuam. Redit uncia, quid fit? "
You can keep your estate. Add an ounce — what then?"
330
Semis". An, haec animos aerugo et cura peculi
"A semis." Once this rust and care of pelf
331
cum semel imbuerit, speramus carmina fingi
have soaked into our hearts, can we hope that poems be fashioned
332
posse linenda cedro et levi servanda cupresso?
fit to be smeared with cedar oil and kept in smooth cypress?
Section XILines 333–365
Dulce et Utile
333
Aut prodesse volunt aut delectare poetae
Poets aim either to profit or to delight,
334
aut simul et iucunda et idonea dicere vitae.
or to say at once what is pleasant and apt for life.
335
Quicquid praecipies, esto brevis, ut cito dicta
Whatever you teach, be brief, that swift words
336
percipiant animi dociles teneantque fideles.
may be quickly grasped by docile minds and faithfully retained.
337
Omne supervacuum pleno de pectore manat.
All that is superfluous flows from a full heart.
338
Ficta voluptatis causa sint proxima veris,
Fictions invented to please should keep close to the truth,
339
ne quodcumque volet poscat sibi fabula credi,
lest the play demand belief for whatever it pleases,
340
neu pransae Lamiae vivum puerum extrahat alvo.
nor draw the boy alive from the belly of the lunch-fed Lamia.
341
Centuriae seniorum agitant expertia frugis,
The centuries of elders drive off what is barren of profit;
342
celsi praetereunt austera poemata Ramnes.
the lofty Ramnes pass by austere poems.
343
Omne tulit punctum qui miscuit utile dulci,
He has won every vote who mingled the useful with the sweet,
344
lectorem delectando pariterque monendo;
delighting the reader and at the same time instructing him;
345
hic meret aera liber Sosiis, hic et mare transit
this is the book that earns the Sosii money, this crosses the sea,
346
et longum noto scriptori prorogat aevum.
and prolongs to a famed author a long span of fame.
347
Sunt delicta tamen quibus ignovisse velimus;
Yet there are faults we should be willing to pardon;
348
nam neque chorda sonum reddit quem volt manus et mens,
for the chord does not always give back the sound that hand and mind would have,
349
poscentique gravem persaepe remittit acutum,
and very often, when a low note is asked, returns a high;
350
nec semper feriet quodcumque minabitur arcus.
nor will the bow always strike whatever it threatens.
351
Verum ubi plura nitent in carmine, non ego paucis
But where many things in a poem shine, I shall not be offended
352
offendar maculis, quas aut incuria fudit,
at a few blemishes, which careless inattention has let slip,
353
aut humana parum cavit natura. Quid ergo est?
or which human nature has too little guarded against. What then?
354
Vt scriptor si peccat idem librarius usque,
As when a copyist keeps making the same mistake
355
quamvis est monitus, venia caret, et Citharoedus
though he has been warned, he has no pardon, and the citharist
356
ridetur, chorda qui semper oberrat eadem,
is laughed at who blunders always on the same string,
357
sic mihi, qui multum cessat, fit Choerilus ille,
so to me he who often falters becomes that Choerilus
358
quem bis terque bonum cum risu miror; et idem
whose two or three good lines I marvel at with a smile;
359
indignor quandoque bonus dormitat Homerus;
and likewise I am vexed whenever good Homer nods —
360
verum operi longo fas est obrepere somnum.
yet over a long work it is fair that sleep should creep in.
361
Vt pictura poesis; erit quae, si propius stes,
As is painting, so is poetry: there will be one which, if you stand close,
362
te capiat magis, et quaedam, si longius abstes;
will please you more, another if you stand farther off;
363
haec amat obscurum, volet haec sub luce videri,
this loves the dim, that wishes to be seen in the light,
364
iudicis argutum quae non formidat acumen;
fearing not the sharp judgment of the critic;
365
haec placuit semel, haec deciens repetita placebit.
this has pleased once, that ten times repeated will please.
Section XIILines 366–407
Mediocrity & Origins of Poetry
366
O maior iuvenum, quamvis et voce paterna
O elder of the youths, though shaped by a father's voice
367
fingeris ad rectum et per te sapis, hoc tibi dictum
to what is right, and wise of yourself, take this saying
368
tolle memor, certis medium et tolerabile rebus
and remember it: in certain matters the middling and tolerable
369
recte concedi; consultus iuris et actor
are rightly conceded; the legal advisor and pleader of cases
370
causarum mediocris abest virtute diserti
of moderate gift falls short of the eloquent
371
Messallae nec scit quantum Cascellius Aulus,
Messalla, and knows less than Cascellius Aulus,
372
sed tamen in pretio est; mediocribus esse poetis
yet is held in price; for poets to be middling
373
non homines, non di, non concessere columnae.
neither men, nor gods, nor booksellers' columns ever permitted.
374
Vt gratas inter mensas symphonia discors
As at pleasing banquets a discordant orchestra
375
et crassum unguentum et Sardo cum melle papaver
and thick perfume and poppy with Sardinian honey
376
offendunt, poterat duci quia cena sine istis,
give offense, since the dinner could go on without them,
377
sic animis natum inventumque poema iuvandis,
so a poem, born and devised to gladden hearts,
378
si paulum summo decessit, vergit ad imum.
if it sinks but a little from the top, slips to the bottom.
379
Ludere qui nescit, campestribus abstinet armis,
He who knows not the game stays away from the soldier's drill ground,
380
indoctusque pilae discive trochive quiescit,
and untrained in ball or discus or hoop sits still,
381
ne spissae risum tollant impune coronae;
lest the crowded ranks raise unchecked laughter;
382
qui nescit, versus tamen audet fingere. Quidni?
yet a man who knows not how dares to make verses. And why not?
383
Liber et ingenuus, praesertim census equestrem
He is free and freeborn, especially rated at the equestrian
384
summam nummorum vitioque remotus ab omni.
census, and far removed from any vice.
385
Tu nihil invita dices faciesue Minerva;
You will say nothing or do nothing against Minerva's will;
386
id tibi iudicium est, ea mens. Siquid tamen olim
such is your judgment, such your mind. Yet if you ever
387
scripseris, in Maeci descendat iudicis auris
have written, let it go down to the ear of Maecius the critic,
388
et patris et nostras, nonumque prematur in annum
and your father's, and ours, and let it be kept back to a ninth year
389
membranis intus positis; delere licebit
with the parchments laid up within: you may erase
390
quod non edideris; nescit vox missa reverti.
what you have not published; the word once sent forth knows no return.
391
Silvestris homines sacer interpresque deorum
Orpheus, sacred and the gods' interpreter, kept savage men
392
caedibus et victu foedo deterruit Orpheus,
from slaughter and foul food,
393
dictus ob hoc lenire tigris rabidosque leones;
and was therefore said to tame tigers and raging lions;
394
dictus et Amphion, Thebanae conditor urbis,
Amphion too, founder of the Theban city, was said
395
saxa movere sono testudinis et prece blanda
to move stones by the tortoise-shell's sound, and by gentle prayer
396
ducere quo vellet. Fuit haec sapientia quondam,
to lead them where he would. This was wisdom of old:
397
publica privatis secernere, sacra profanis,
to mark off public from private, sacred from profane,
398
concubitu prohibere vago, dare iura maritis,
to forbid promiscuous union, give laws to the married,
399
oppida moliri, leges incidere ligno.
to build towns, to carve laws on wood.
400
Sic honor et nomen divinis vatibus atque
Thus to the divine bards and their songs
401
carminibus venit. Post hos insignis Homerus
came honor and a name. After them came famed Homer,
402
Tyrtaeusque mares animos in Martia bella
and Tyrtaeus, who with verses kindled manly hearts
403
versibus exacuit, dictae per carmina sortes,
for the wars of Mars; oracles were uttered through poems,
404
et vitae monstrata via est et gratia regum
and the way of life was shown, and the favor of kings
405
Pieriis temptata modis ludusque repertus
courted in the Pierian measures, and play was discovered,
406
et longorum operum finis: ne forte pudori
and an end of long labors: lest by chance the lyre's Muse
407
sit tibi Musa lyrae sollers et cantor Apollo.
and Apollo the singer become a shame to you.
Section XIIILines 408–476
Nature, Art & the Mad Poet
408
Natura fieret laudabile carmen an arte,
Whether by nature or by art a praiseworthy poem comes to be,
409
quaesitum est; ego nec studium sine divite vena
has been the question; for my part I see no profit in study without
410
nec rude quid prosit video ingenium; alterius sic
a rich vein, nor in raw genius; the one demands the help
411
altera poscit opem res et coniurat amice.
of the other, and they conspire amicably.
412
Qui studet optatam cursu contingere metam,
He who would touch the longed-for goal in the race
413
multa tulit fecitque puer, sudavit et alsit,
endured and did much as a boy, sweated and froze,
414
abstinuit venere et vino; qui Pythia cantat
abstained from wine and love; he who pipes the Pythian song
415
tibicen, didicit prius extimuitque magistrum.
as a flautist first learned and feared a master.
416
Nunc satis est dixisse: "Ego mira poemata pango;
Now it is enough to say: "I make wonderful poems;
417
occupet extremum scabies; mihi turpe relinqui est
let the itch take the hindmost: it is shameful for me to be left,
418
et, quod non didici, sane nescire fateri."
and to confess at last that I do not know what I never learned."
419
Vt praeco, ad merces turbam qui cogit emendas,
As an auctioneer who gathers a crowd to buy his goods
420
adsentatores iubet ad lucrum ire poeta
calls the people, the rich poet bids his flatterers
421
dives agris, dives positis in fenore nummis.
rich in fields, rich in money laid out at interest.
422
Si vero est unctum qui recte ponere possit
But if there is one who knows how to set out a feast lavishly,
423
et spondere levi pro paupere et eripere atris
and to be surety for a poor client and to extricate one
424
litibus implicitum, mirabor si sciet inter
involved in dark lawsuits, I shall be amazed if, in his good fortune,
425
noscere mendacem verumque beatus amicum.
he can tell the false friend from the true.
426
Tu seu donaris seu quid donare voles cui,
Whether you have given, or wish to give, to anyone,
427
nolito ad versus tibi factos ducere plenum
do not lead him, full of joy, to the verses you have made;
428
laetitiae; clamabit enim: "Pulchre, bene, recte",
for he will cry, "Fine, well, right!"
429
pallescet super his, etiam stillabit amicis
He will turn pale at them, will even shed friendly tears
430
ex oculis rorem, saliet, tundet pede terram.
as dewdrops from his eyes; he will leap up; he will beat the ground with his foot.
431
Vt qui conducti plorant in funere dicunt
As hired mourners at a funeral say
432
et faciunt prope plura dolentibus ex animo, sic
and do almost more than those who grieve at heart, so
433
derisor vero plus laudatore movetur.
the mocker is moved more than the true admirer.
434
Reges dicuntur multis urgere culillis
Kings, it is said, ply with many cups,
435
et torquere mero, quem perspexisse laborent
and torment with wine, the man whom they take pains to examine,
436
an sit amicitia dignus; si carmina condes,
to see whether he is worthy of friendship; if you compose poems,
437
numquam te fallent animi sub volpe latentes.
let the spirit hidden under the fox-skin never deceive you.
438
Quintilio siquid recitares: "Corrige, sodes,
If you recited anything to Quintilius, he would say, "Pray, correct
439
hoc" aiebat "et hoc"; melius te posse negares,
this and this." If you said you could not do better,
440
bis terque expertum frustra; delere iubebat
having tried twice and thrice in vain, he would bid you erase
441
et male tornatos incudi reddere versus.
and bring the ill-turned verses back to the anvil.
442
Si defendere delictum quam vertere malles,
If you preferred to defend the fault rather than to amend it,
443
nullum ultra verbum aut operam insumebat inanem,
he wasted no further word nor any pains,
444
quin sine rivali teque et tua solus amares.
to keep you from loving yourself and your work alone, without a rival.
445
Vir bonus et prudens versus reprehendet inertis,
An honest and wise man will rebuke verses that lack art,
446
culpabit duros, incomptis adlinet atrum
will censure the harsh, will mark the unpolished
447
transuorso calamo signum, ambitiosa recidet
with the black sign of a transverse pen-stroke; he will lop off pretentious
448
ornamenta, parum claris lucem dare coget,
ornaments; he will compel you to give light to what is dim;
449
arguet ambigue dictum, mutanda notabit,
he will challenge what is ambiguously said; he will mark what must be changed;
450
fiet Aristarchus, nec dicet: "Cur ego amicum
he will become an Aristarchus, nor say, "Why should I offend a friend
451
offendam in nugis?" Hae nugae seria ducent
in trifles?" These trifles will lead to serious troubles
452
in mala derisum semel exceptumque sinistre.
the man once mocked and once unfavorably received.
453
Vt mala quem scabies aut morbus regius urget
As one whom an evil scab afflicts, or the royal jaundice,
454
aut fanaticus error et iracunda Diana,
or fanatic frenzy and Diana's wrath,
455
vesanum tetigisse timent fugiuntque poetam,
wise men dread to touch and shun the mad poet,
456
qui sapiunt; agitant pueri incautique sequuntur.
while boys harass and rashly pursue him.
457
Hic dum sublimis versus ructatur et errat,
While he, belching forth lofty verses, wanders,
458
si veluti merulis intentus decidit auceps
if, like a fowler intent on his blackbirds, he should chance to fall
459
in puteum foveamve, licet "succurrite" longum
into a well or pit, though he should cry long, "Help,
460
clamet "io cives", non sit qui tollere curet.
ho citizens!" let none care to lift him up.
461
Si curet quis opem ferre et demittere funem,
Should anyone care to bring help and let down a rope,
462
"qui scis an prudens huc se deiecerit atque
I shall say, "How do you know whether he did not throw himself in
463
servari nolit?" dicam, Siculique poetae
of his own accord, and refuses to be saved?" And I will tell
464
narrabo interitum. Deus inmortalis haberi
the death of the Sicilian poet. Eager to be reckoned an immortal god,
465
dum cupit Empedocles, ardentem frigidus Aetnam
Empedocles, cool-bloodedly, into burning Aetna
466
insiluit. Sit ius liceatque perire poetis;
leapt. Let it be lawful and right for poets to perish;
467
invitum qui servat, idem facit occidenti.
he who saves a man against his will does the same as one who slays him.
468
Nec semel hoc fecit nec, si retractus erit, iam
Not once has he done this, nor, if pulled out, will he straightway
469
fiet homo et ponet famosae mortis amorem.
become a man and lay aside the love of a notorious death.
470
Nec satis apparet cur versus factitet, utrum
Nor is it sufficiently clear why he keeps making verses—
471
minxerit in patrios cineres, an triste bidental
whether he has profaned a father's ashes, or has impiously
472
moverit incestus; certe furit, ac velut ursus,
disturbed a grim place struck by lightning; certainly he raves, and like a bear
473
obiectos caveae valuit si frangere clatros,
that has had strength to break the bars of the cage thrust before it,
474
indoctum doctumque fugat recitator acerbus;
the relentless reciter scatters learned and unlearned alike;
475
quem vero arripuit, tenet occiditque legendo,
and whom indeed he has caught, he holds and slays by reading,
476
non missura cutem nisi plena cruoris hirudo.
a leech that will not let go the skin until full of blood.