Oberlin Classics

[1] Scaeva: We do not know who this is. Horace offers advice about enjoying a proper relationship with those in power (maioribus), although he demurs that Scaeva is a sharp individual who looks out for himself,
satis: take adverbially “enough”.
tibi consulis: consulo+dat. = “to look out for, pay attention to”.

[2] quo...pacto: introduces an indirect question with the verb (deceat) in the subjunctive (A&G 574). It can simply be translated as “how”.
tandem: implies that this was the thrust of the question that Scaeva asked him (i.e maioribus uti).
uti: “to associate with”. Utor takes the ablative (A&G 410).

[3] disce, docendus: the didactic tone of the letter is stressed, even as Horace admits that he himself has much still to learn (docendus).
quae censet: relative clause with an ea implied before quae, i.e. “the recommendations that your humble friend (amiculus) offers”.
ut si: “as if, even if” introducing a clause of comparison with the subjunctive (A&G 524).

[4] caecus iter monstrare velit: the proverb shows Horace’s modesty as didactic teacher.
si quid: quid = aliquid and is the direct object of loquamur. Si introduces an indirect question.

[5] et nos: “even we”. More (false) modesty on Horace’s part.
quod: relative clause of characteristic with cures in the subjunctive (A&G 534).
proprium fecisse: “to have made your own”, i.e. to have done an action habitually so that it makes it characteristic of Scaeva.

[6] si te: Horace begins his advice by claiming if Scaeva wants and enjoys a quiet life, he should move to the country. If, however, he has higher ambitions, he will need to seek the patronage of a greater man.
primam...in horam: At the first hour of the day (which would vary from very early in the morning during the summer to around 7:30 a.m. in winter) clients would be expected to perform the salutatio for their patrons. If you like to sleep in, Horace would encourage you to live in the country.

[7] pulvis strepitusque rotarum: the traffic of the city as well as the din of the chariot races. Supply laedit.

[8] caupona: a country inn. Many of these would not be particularly swanky, see Sat. 1.5.4, where Horace details a trip he had to take with Maecenas. That satire seems to be an important antecedent for aspects of this and the following epistle.
Ferentium: a small town in northern Latium. It has some impressive remains, but here it is used to contrast with the hustle and bustle of Rome.

[9] neque divitibus contingunt gaudia solis: Ostensibly because the rich only care about money and thus will not stop to smell the roses or enjoy a sunny day.

[10] qui natus moriensque fefellit: reminds the reader of Epicurus’ motto “to live unnoticed” (λάθε βιώσας). Kirkland (ad loc.) cites as a parallel, the line of Ovid: crede mihi, bene qui latuit, bene vixit (Trist. 3.4.25).

[11] prodesse tuis: The first reason why one might want to seek a rich patron is to help one’s dependents.
paulo: ablative of degree of difference (A&G 414) with the comparative benignius.
ipsum: with te in the following line, to stress the self-serving nature of the second reason one might want a rich patron.

[12] accedes siccus ad unctum: the apodosis of the future more vivid condition (A&G 514). The basic idea is “go to dinner once in a while at a rich man’s house” (Ferry’s translation), but Horace contrasts the “dry” (siccus) nature of poor cuisine with the “greasy, opulent” (unctum) food of the rich patron.

[13] Horace moves to a story about the philosopher Aristippus that touches upon dining at a rich man’s table and the different views of Aristippus the Hedonist, and Diogenes the Cynic (cf. Diog. Laert. 2.8.68). Both philosophers were following aspects of Socrates’ philosophy, but whereas Diogenes looked to Socrates’ poverty and “living according to nature”, Aristippus (Socrates’ student) tried to adapt himself to any circumstance and often courted the rich. Aristippus was the guest of Dionysius the Younger, who was a lavish tyrant of Syracuse in the mid-4th C. BCE. Horace’s own views would seem to align with Aristippus rather often. See Moles (2007).
‘Si pranderet holus: The words of Diogenes to Aristippus as he passes. NB, Horace’s own invitation to dinner in Ep. 1.5 features vegetables. The present contrary-to-fact condition (A&G 514) stresses that this is not true of Aristippus.
regibus uti: A strong echo of maioribus uti in line 2 of this poem.

[14] Aristippus shows his wit and verbal one-upmanship of Diogenes by using his words against him (note the same metrical position of regibus uti).

[15] qui me notat: “who censures me”. The Censor would put a mark (notare) by the name of the person who has been caught doing wrong.
utrius horum: The opening of an indirect question with probes in the following line, “which of these two” (A&G 574).

[16] doce: Horace asks Scaeva to teach/tell him whose words and deeds he approves. The didactic sentiment looks back to line 3 above.
iunior: Nominative. Scaeva is younger than Horace and should probably heed the elder’s advice and his approval of Aristippus.

[17] cur sit: indirect question (A&G 574).

[18] mordacem Cynicum: Horace plays on the etymological link of Cynics with “dogs” (κύων), whose words have “bite”.

[19] scurror: a scurra was the word for a “parasite” in Roman comedy (Damon 1997 is an exhaustive treatment of the subject). These figures often went to the dinner parties of the rich in order to get food and gifts. Horace seems to have coined this verb, which stresses its performative nature. Aristippus does this simply for himself (ego ipse mihi), while Diogenes does it for the crowd. This word will reappear in the following epistle as well.
rectius: in the collection as a whole, the question of recte vivere is paramount, and the use of the comparative here hints at larger thematic ties.
hoc: referring to his way of playing the parasite.

[20] equus ut me portet, alat rex: A purpose clause (ut + subjunctive), which is set up with the following line "I do my duty in order that...". This echoes a Greek proverb used often of courtiers: ἵππος με φέρει, βασιλεύς με τρέφει, “the horse carries me, the king feeds me.”

[21] officium: one’s duty is a major issue in Roman society (Cicero wrote a whole de Officiis about these duties). Kilpatrick finds points of comparison between Cicero's work and Horace's (1986: xx-xxii). Aristippus claims he does his service as a friend to those in power (i.e. he is a good dinner guest and thus deserves to be at the tables of the rich). McCarter 2018: 693) sees a sexual double-entendre in in the phrase.
vilia rerum: the Cynics would beg from the crowd and, thus, received a paltry reward.

[22] dante minor: dante is ablative of comparison (A&G 406). In both cases (Aristippus and Diogenes), the philosopher asks for goods from his patron, but Aristippus gets his goods from the wealthy, while Diogenes gets his from the poor crowd.
fers te: “you carry yourself, you act”.
nullius egentem: egentem modifies te and the verb takes the genitive (A&G 356). The Cynics’ attitude is summed up by the story of Diogenes and Alexander the Great.

[23] omnis...color et status et res: Aristippus is said to have been able to adjust to any circumstance, as Horace had previously mentioned at Ep. 1.1.18-19 (note the repetition of res from that passage). color = “vicissitude” and res here indicates “money, degree of wealth”.

[24] temptantem maiora: temptatem agrees with Aristippum and it takes maiora as its direct object. temptare here = “tries to obtain”.
fere: “generally”.
aequum: aequus= “equal to” takes the dative. Horace has stressed the importance of an aequus animus in the Epistles (e.g. 1.11.30, cf. Sat. 2.3.16) and here shows how Aristippus was usually content with his circumstances (as Horace hopes to be).

[25] contra: Horace gives the opposite example of Diogenes (the quem).
duplici panno: Diogenes claimed that he didn’t need to layer his clothes when he was cold because he could fold (or double) his cloak for more protection. This became emblematic of Cynics and other philosophers who practiced asceticism and endurance (patientia).

[26] mirabor: Horace would marvel if a changed way of life (vitae via...conversa) would suit Diogenes.

[27] alter: Aristippus can go out in any style of dress.

[28] quidlibet indutus: “clad in anything” with quidlibet an accusative of respect (a Greek usage, cf. A&G 397c).

[29] personamque feret...utramque: persona is the theatrical mask. Aristippus can play the role of the rich or poor with class and style. The theatrical metaphor is continued from scurror (line 19), and one picks up from this motif how much Horace himself plays different roles in the letters.
non inconcinnus: “without appearing inelegant or awkward” (Kirkland ad loc.).

[30] alter: Diogenes would avoid rich clothing - there is a sense that he is ostentatious in his poverty.
Mileti textam...chlamydem: Milteus was known for its fine wool.
cane...angui: Both are bad omens as well as dangerous to meet unexpectedly. Ablative of comparison (A&G 406).

[31] frigore: ablative of cause (A&G 404).
morietur...rettuleris: future more vivid condition (A&G 514), here with the apodosis first.

[32] pannum: the “rags” of the Cynic philosopher.
refer: “give back” his rags, imperative of referre.
sine vivat: for sino (and other verbs of permitting) introducing a purpose clause, see A&G 563c.
ineptus: his last word on Diogenes.

[33] res: the object of gerere, “to perform deeds.” NB the title of Augustus’ autobiography (Res Gestae).
Horace shifts to discussing actions that echo the Roman tradition of triumph, a civil ceremony wherein victors lead captured enemies and other spoils of war through Rome to celebrate conquests. The vir triumphalis, usually military generals, achieved a god-like status during this ceremony. Horace uses this to preface the subsequent lines of the poem, which compare men who are capable of virtus and men who are not.
gerere… ostendere: subjects of attingit, which here has a meaning of “achieve” or “reach.”

[34] solium Iovis: “the throne of Jove,” direct object of attingit
By claiming spoils from enemies and taking captives to show off to other Roman citizens, Horace claims that one may experience what it is to be a god - remember that a slave repeats to a triumphant general “Remember you are not a god!”.

[35] placuisse: the perfect active infinitive of placeo, takes the dative.
principibus… viris: “the leading men.” Horace is referring to leaders of society, as well as generals.
non ultima: litotes (A&G 326), i.e. it is pretty great!

[36] cuivis… contingit adire: “It does not befall any man to approach…” The syntactical structure of the dative and the infinitive is often used in poetry.
The idea that not every man is suited for association with principibus viris in continued in this line, which relates to a Greek proverb inspired by the Corinthian courtesan, Lais; Οὐ παντὸς ἀνδρὸς ἐς Κόρινθον ἔσθʼ ὁ πλοῦς, “Not every man may voyage to Corinth.” Lais, who was a lover to Aristippus, was known for charging high prices to receive wealthy men, weeding out those who were not exorbitantly wealthy. For more on Lais of Corinth, see Aulus Gellius, Attic Nights, 1.8.

[37] sedit… timuit: gnomic perfects (A&G 475).
ne… succederet: a fear clause (A&G 564).
esto: “so be it.” This line allows the point that there are those who are so afraid of failure that they give up trying at all.

[38] quid: “what of”.
fecitne: The enclitic ne introduces a question. “Did he not…”
atqui…: “Well…” Precedes a negative answer to Aristippus’ question.
This line is a shift between the consideration of the fearful man in the previous line to that of the man who achieves his goals; qui pervenit thus becomes the foil to qui timuit.

[39] hic… quaerimus: Within the question asked by Aristippus in the preceding line is the core of the matter which the two are discussing.
hic… hic: The first hic (hic onus horret…) refers back to qui timuit, while the second in line 41 (hic subit et perfert…) refers to qui pervenit. The repetition of the word emphasizes the contrast between the two men.

[40] ut: “as being”.
maius: “too great for”. Comparative form of magnus-a-um, acting with ut to further define the onus.

[41] subit: “shoulders it [onus].”
nomen inane: “a hollow/empty title.”

[42] decus et pretium: One who is virtuous is deserving of both honor (decus) and material/monetary reward (pretium).
experiens vir: “the enterprising man,” i.e. the man who attempts to be virtuous.

[43] coram: preposition taking the ablative rege suo, with rege here referring to a patron as well as a king (see Mayer ad loc.). Horace may use this language to recall the scene with Pentheus in Epistle 1.16, wherein an unnamed figure (possibly identifiable as Bacchus) confronts Pentheus, the mythical King of Thebes.
tacentes: present active participle acting as a substantive subject, with de paupertate as the object.

[44] plus poscente: the plus acts as the direct object of ferent, with the participle again acting as a substantive. Those who are polite and do not annoy their patrons with lamentations about their troubles and requests for aid will be rewarded more than those who are vocal about their wants.
distat: introduces an indirect question (A&G 586).
sumasne… an: “whether… or,” though ut… ut or utrum… an are more common constructions of this phrase.

[45] sumasne… rapias: subjunctives in an indirect question.
hic… hoc: referring to the two types of men mentioned earlier. Their genders are governed by the nouns they modify - caput and fons.
caput… fons: refer metaphorically to the beginning and source of a river, and are often used together. The repetitive formula puts emphasis on the importance of pursuing the right strategy in the presence of one’s benefactors (i.e. from this all benefits will flow).

[46-47] The women in the speaker’s family have no money and thus cannot marry into wealth, and he has no hope of enriching himself through his estate, which he can neither sell at a profit nor subsist off of.

[48] victum: the provisions necessary to live on, the source of the word “victuals.” The man who directly asks for such charitable assistance from his patron admits that he does not have enough to provide even the most basic necessities to his family, which, in Horace’s view, is something very shameful.

[49] dividuo...munere: this is a difficult ablative to define. It possibly carries with it a sense of the preposition “in” or “by.” The man who clamors for gifts in competition with others will have any assistance given to him divided up among the rest of the needy clients.
quadra: “an even amount” rather than a literal square.

[50] corvus: likely a reference to Aesop’s fable, “The Fox and the Crow,” in which a fox employs flattery to encourage a crow to show how melodious its call is, causing the bird to open its beak and thus drop the food it is holding. The food is then stolen by the fox. Horace promotes silence as the surest method for securing one’s dinner.

[51] There are two comparative statements in this line, one governed by plus and the other by minus. Both take partitive genitives.
rixae multo minus invidiaeque: here multo describes the degree of difference (eg, “by much'') rather than governing the comparative statement. This allows Horace to create a clever chiasmus with the genitives rixae… invidiaeque on the outside and the comparative words within. The man who does not involve himself in competing for gifts from a patron will be rewarded for it.

[52] Brundisium: modern-day Brindisi, a port city in Southern Italy on the Adriatic coast. It was an important trade and naval center to the Ancient Romans.
Surrentum: modern-day Sorrento, another Southern coastal city, this time on the Bay of Naples. It was largely influenced and inhabited by the Greeks due to its location, and had a substantial population of wealthy citizens.

[53] salebras: describing the uneven quality of the roads. However, the Via Appia, which the comes would have been traveling on, was a piece of infrastructure kept in generally excellent condition, thus implying that he is finding causes to complain where none are evident (see Mayer ad loc.).
imbris: poetic accusative plural form.
The journey made here is reminiscent of a trip Horace made with Maecenas and Vergil, recounted in Satires 1.5. Whether Horace employs this reference to signal to his readers that this Epistle is itself satirical or whether he is making self-deprecating commentary on his own past behavior is debated by scholars.

[54] plorat: the comes continues to vocally find fault with his situation in whatever way possible.

[55] acumina: “fraud,” “deception,”or “trick”. In context with meretricis, it carries a particularly cutting connotation - the friend’s complaints lower him to the status of a prostitute manipulating her clients for more money. This possibly also refers back to the earlier reference to Lais.
catellam: in context with perisclidem in the next line, catellam here is likely referring to a necklace rather than a dog. However, the word choice may be an intentional callback to the “barking” Cynic of line 18. sc. flentis with this clause as well as the following one.

[56] the repetition of saepe reveals the motivation for Horace’s comparison of his companion to a meretrix; both are in constant need of something to bewail.
periscelidem: a loan word from the Greek περισκελίς, meaning “anklet.”
sibi: dative of separation (A&G 381).
uti: introducing a result clause (A&G 537). The sentiment that the woman’s feigned distress is so constant that one would never believe her if she were in real pain is reminiscent of Aesop’s better known fable, “The Boy Who Cried Wolf”.

[57] damnis: specifically financial losses.
adsit: subjunctive in a result clause. Here taking the dative damnis verisque doloribus. Take veris as modifying both dative nouns.

[58] nec... curat: “for the once-fooled man cannot be troubled…”

[59] planum: from the Greek word πλάνος, meaning “impostor.” Horace continues with the “fool me once shame on you, fool me twice, shame on me” sentiment of the previous lines - those having been lied to are unlikely to trust the liar again.
illi: refers to planum in the previous sentence.

[60] dicat: potential subjunctive.
Osiris: the Ancient Egyptian god of death and life, with his domain including such realms as the underworld, fertility, and agriculture. Mayer speculates that the speaker swearing to him rather than a member of the Greco-Roman pantheon suggests either that he is a foreigner, which would tie in with his characterization as untrustworthy to an audience of Roman citizens, or “uses the unusual oath to impress” (ad loc.).

[61] ludo: in this context, “deceive,” though also with the sense of “play a part,” since the word can connote the ludi scaenici, theatrical performances held alongside chariot races as part of religious festivals. It is one of many references to taking on dramatic roles found throughout this poem and also ties it back to Ep. 1.1.

[62] rauca: adverbial form (Mayer ad loc.).
The impostor’s neighbors are too familiar with his dishonest tendencies to pay heed to his pleas. They dismiss him to find another who he is able to fool. In closing the poem here, Horace concludes his advice to Scaeva with the warning that if he continues complaining about his misfortunes - whether real or feigned - people will simply stop listening to him.