The Odes and Carmen Saeculare of Horace — Edition Insights

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Horace, 66 BCE-9 BCE, Conington, John, 1825-1869 [Translator] Project Gutenberg 2004 Not confirmed
Horace -- Translations into English; Laudatory poetry, Latin -- Translations into English Readers of public-domain and historical texts
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Words 32,602
Reading time 142 min
Text sections 4

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John Conington's 19th-century verse translation of Horace's Odes and Carmen Saeculare, with a preface defending metrical fidelity and sententious brevity. The odes move between public praise, private meditation, and mythic narrative, using recurring images of sea, storm, and the precariousness of human ambition.
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What had Death in store to awe Those eyes, that huge sea-beasts unmelting saw, Saw the swelling of the surge, And high Ceraunian cliffs, the seaman's scourge? Heaven's high providence in vain Has sever'd countries with the estranging main, If our vessels ne'ertheless With reckless plunge that sacred bar transgress. Daring all, their goal to win, Men tread forbidden ground, and rush on sin: Daring all, Prometheus play'd His wily game, and fire to man convey'd; Soon as fire was stolen away, Pale Fever's stranger host and wan Decay Swept o'er earth's polluted face, And slow Fate quicken'd Death's once halting pace. Daedalus the void air tried On wings, to humankind by Heaven denied; Acheron's bar gave way with ease Before the arm of labouring Hercules. Nought is there for man too high; Our impious folly e'en would climb the sky, Braves the dweller on the steep, Nor lets the bolts of heavenly vengeance sleep.

SOLVITUR ACRIS HIEMS.

The touch of Zephyr and of Spring has loosen'd Winter's thrall; The well-dried keels are wheel'd again to sea: The ploughman cares not for his fire, nor cattle for their stall, And frost no more is whitening all the lea. Now Cytherea leads the dance, the bright moon overhead; The Graces and the Nymphs, together knit, With rhythmic feet the meadow beat, while Vulcan, fiery red, Heats the Cyclopian forge in Aetna's pit. 'Tis now the time to wreathe the brow with branch of myrtle green, Or flowers, just opening to the vernal breeze; Now Faunus claims his sacrifice among the shady treen, Lambkin or kidling, which soe'er he please. Pale Death, impartial, walks his round; he knocks at cottage-gate And palace-portal. Sestius, child of bliss! How should a mortal's hopes be long, when short his being's date? Lo here! the fabulous ghosts, the dark abyss, The void of the Plutonian hall, where soon as e'er you go, No more for you shall leap the auspicious die To seat you on the throne of wine; no more your breast shall glow For Lycidas, the star of every eye.

What slender youth, besprinkled with perfume, Courts you on roses in some grotto's shade? Fair Pyrrha, say, for whom Your yellow hair you braid, So trim, so simple! Ah! how oft shall he Lament that faith can fail, that gods can change, Viewing the rough black sea With eyes to tempests strange, Who now is basking in your golden smile, And dreams of you still fancy-free, still kind, Poor fool, nor knows the guile Of the deceitful wind! Woe to the eyes you dazzle without cloud Untried! For me, they show in yonder fane My dripping garments, vow'd To Him who curbs the main.

Not I, but Varius:--he, of Homer's brood A tuneful swan, shall bear you on his wing, Your tale of trophies, won by field or flood, Mighty alike to sing. Not mine such themes, Agrippa; no, nor mine To chant the wrath that fill'd Pelides' breast, Nor dark Ulysses' wanderings o'er the brine, Nor Pelops' house unblest. Vast were the task, I feeble; inborn shame, And she, who makes the peaceful lyre submit, Forbid me to impair great Caesar's fame And yours by my weak wit. But who may fitly sing of Mars array'd In adamant mail, or Merion, black with dust Of Troy, or Tydeus' son by Pallas' aid Strong against gods to thrust? Feasts are my theme, my warriors maidens fair, Who with pared nails encounter youths in fight; Be Fancy free or caught in Cupid's snare, Her temper still is light.

Let others Rhodes or Mytilene sing, Or Ephesus, or Corinth, set between Two seas, or Thebes, or Delphi, for its king Each famous, or Thessalian Tempe green; There are who make chaste Pallas' virgin tower The daily burden of unending song, And search for wreaths the olive's rifled bower; The praise of Juno sounds from many a tongue, Telling of Argos' steeds, Mycenaes's gold. For me stern Sparta forges no such spell, No, nor Larissa's plain of richest mould, As bright Albunea echoing from her cell. O headlong Anio! O Tiburnian groves, And orchards saturate with shifting streams! Look how the clear fresh south from heaven removes The tempest, nor with rain perpetual teems! You too be wise, my Plancus: life's worst cloud Will melt in air, by mellow wine allay'd, Dwell you in camps, with glittering banners proud, Or 'neath your Tibur's canopy of shade. When Teucer fled before his father's frown From Salamis, they say his temples deep He dipp'd in wine, then wreath'd with poplar crown, And bade his comrades lay their grief to sleep: "Where Fortune bears us, than my sire more kind, There let us go, my own, my gallant crew. 'Tis Teucer leads, 'tis Teucer breathes the wind; No more despair; Apollo's word is true. Another Salamis in kindlier air Shall yet arise. Hearts, that have borne with me Worse buffets! drown to-day in wine your care; To-morrow we recross the wide, wide sea!"

LYDIA, DIC PER OMNES.

Lydia, by all above, Why bear so hard on Sybaris, to ruin him with love? What change has made him shun The playing-ground, who once so well could bear the dust and sun? Why does he never sit On horseback in his company, nor with uneven bit His Gallic courser tame? Why dreads he yellow Tiber, as 'twould sully that fair frame? Like poison loathes the oil, His arms no longer black and blue with honourable toil, He who erewhile was known For quoit or javelin oft and oft beyond the limit thrown? Why skulks he, as they say Did Thetis' son before the dawn of Ilion's fatal day, For fear the manly dress Should fling him into danger's arms, amid the Lycian press?

See, how it stands, one pile of snow, Soracte! 'neath the pressure yield Its groaning woods; the torrents' flow With clear sharp ice is all congeal'd. Heap high the logs, and melt the cold, Good Thaliarch; draw the wine we ask, That mellower vintage, four-year-old, From out the cellar'd Sabine cask. The future trust with Jove; when He Has still'd the warring tempests' roar On the vex'd deep, the cypress-tree And aged ash are rock'd no more. O, ask not what the morn will bring, But count as gain each day that chance May give you; sport in life's young spring, Nor scorn sweet love, nor merry dance, While years are green, while sullen eld Is distant. Now the walk, the game, The whisper'd talk at sunset held, Each in its hour, prefer their claim. Sweet too the laugh, whose feign'd alarm The hiding-place of beauty tells, The token, ravish'd from the arm Or finger, that but ill rebels.

Grandson of Atlas, wise of tongue, O Mercury, whose wit could tame Man's savage youth by power of song And plastic game! Thee sing I, herald of the sky, Who gav'st the lyre its music sweet, Hiding whate'er might please thine eye In frolic cheat. See, threatening thee, poor guileless child, Apollo claims, in angry tone, His cattle;--all at once he smiled, His quiver gone. Strong in thy guidance, Hector's sire Escaped the Atridae, pass'd between Thessalian tents and warders' fire, Of all unseen. Thou lay'st unspotted souls to rest; Thy golden rod pale spectres know; Blest power! by all thy brethren blest, Above, below!

Ask not ('tis forbidden knowledge), what our destined term of years, Mine and yours; nor scan the tables of your Babylonish seers. Better far to bear the future, my Leuconoe, like the past, Whether Jove has many winters yet to give, or this our last; THIS, that makes the Tyrrhene billows spend their strength against the shore. Strain your wine and prove your wisdom; life is short; should hope be more? In the moment of our talking, envious time has ebb'd away. Seize the present; trust to-morrow e'en as little as you may.

QUEMN VIRUM AUT HEROA.

What man, what hero, Clio sweet, On harp or flute wilt thou proclaim? What god shall echo's voice repeat In mocking game To Helicon's sequester'd shade, Or Pindus, or on Haemus chill, Where once the hurrying woods obey'd The minstrel's will, Who, by his mother's gift of song, Held the fleet stream, the rapid breeze, And led with blandishment along The listening trees? Whom praise we first? the Sire on high, Who gods and men unerring guides, Who rules the sea, the earth, the sky, Their times and tides. No mightier birth may He beget; No like, no second has He known; Yet nearest to her sire's is set Minerva's throne. Nor yet shall Bacchus pass unsaid, Bold warrior, nor the virgin foe Of savage beasts, nor Phoebus, dread With deadly bow. Alcides too shall be my theme, And Leda's twins, for horses be, He famed for boxing; soon as gleam Their stars at sea, The lash'd spray trickles from the steep, The wind sinks down, the storm-cloud flies, The threatening billow on the deep Obedient lies. Shall now Quirinus take his turn, Or quiet Numa, or the state Proud Tarquin held, or Cato stern, By death made great? Ay, Regulus and the Scaurian name, And Paullus, who at Cannae gave His glorious soul, fair record claim, For all were brave. Thee, Furius, and Fabricius, thee, Rough Curius too, with untrimm'd beard, Your sires' transmitted poverty To conquest rear'd. Marcellus' fame, its up-growth hid, Springs like a tree; great Julius' light Shines, like the radiant moon amid The lamps of night. Dread Sire and Guardian of man's race, To Thee, O Jove, the Fates assign Our Caesar's charge; his power and place Be next to Thine. Whether the Parthian, threatening Rome, His eagles scatter to the wind, Or follow to their eastern home Cathay and Ind, Thy second let him rule below: Thy car shall shake the realms above; Thy vengeful bolts shall overthrow Each guilty grove.

Telephus--you praise him still, His waxen arms, his rosy-tinted neck; Ah! and all the while I thrill With jealous pangs I cannot, cannot check. See, my colour comes and goes, My poor heart flutters, Lydia, and the dew, Down my cheek soft stealing, shows What lingering torments rack me through and through. Oh, 'tis agony to see Those snowwhite shoulders scarr'd in drunken fray, Or those ruby lips, where he Has left strange marks, that show how rough his play! Never, never look to find A faithful heart in him whose rage can harm Sweetest lips, which Venus kind Has tinctured with her quintessential charm. Happy, happy, happy they Whose living love, untroubled by all strife, Binds them till the last sad day, Nor parts asunder but with parting life!

O LUCKLESS bark! new waves will force you back To sea. O, haste to make the haven yours! E'en now, a helpless wrack, You drift, despoil'd of oars; The Afric gale has dealt your mast a wound; Your sailyards groan, nor can your keel sustain, Till lash'd with cables round, A more imperious main. Your canvass hangs in ribbons, rent and torn; No gods are left to pray to in fresh need. A pine of Pontus born Of noble forest breed, You boast your name and lineage--madly blind! Can painted timbers quell a seaman's fear? Beware! or else the wind Makes you its mock and jeer. Your trouble late made sick this heart of mine, And still I love you, still am ill at ease. O, shun the sea, where shine The thick-sown Cyclades!

When the false swain was hurrying o'er the deep His Spartan hostess in the Idaean bark, Old Nereus laid the unwilling winds asleep, That all to Fate might hark, Speaking through him:--"Home in ill hour you take A prize whom Greece shall claim with troops untold, Leagued by an oath your marriage tie to break And Priam's kingdom old. Alas! what deaths you launch on Dardan realm! What toils are waiting, man and horse to tire! See! Pallas trims her aegis and her helm, Her chariot and her ire. Vainly shall you, in Venus' favour strong, Your tresses comb, and for your dames divide On peaceful lyre the several parts of song; Vainly in chamber hide From spears and Gnossian arrows, barb'd with fate, And battle's din, and Ajax in the chase Unconquer'd; those adulterous locks, though late, Shall gory dust deface. Hark! 'tis the death-cry of your race! look back! Ulysses comes, and Pylian Nestor grey; See! Salaminian Teucer on your track, And Sthenelus, in the fray Versed, or with whip and rein, should need require, No laggard. Merion too your eyes shall know From far. Tydides, fiercer than his sire, Pursues you, all aglow; Him, as the stag forgets to graze for fright, Seeing the wolf at distance in the glade, And flies, high panting, you shall fly, despite Boasts to your leman made. What though Achilles' wrathful fleet postpone The day of doom to Troy and Troy's proud dames, Her towers shall fall, the number'd winters flown, Wrapp'd in Achaean flames."

O lovelier than the lovely dame That bore you, sentence as you please Those scurril verses, be it flame Your vengeance craves, or Hadrian seas. Not Cybele, nor he that haunts Rich Pytho, worse the brain confounds, Not Bacchus, nor the Corybants Clash their loud gongs with fiercer sounds Than savage wrath; nor sword nor spear Appals it, no, nor ocean's frown, Nor ravening fire, nor Jupiter In hideous ruin crashing down. Prometheus, forced, they say, to add To his prime clay some favourite part From every kind, took lion mad, And lodged its gall in man's poor heart. 'Twas wrath that laid Thyestes low; 'Tis wrath that oft destruction calls On cities, and invites the foe To drive his plough o'er ruin'd walls. Then calm your spirit; I can tell How once, when youth in all my veins Was glowing, blind with rage, I fell On friend and foe in ribald strains. Come, let me change my sour for sweet, And smile complacent as before: Hear me my palinode repeat, And give me back your heart once more.

The pleasures of Lucretilis Tempt Faunus from his Grecian seat; He keeps my little goats in bliss Apart from wind, and rain, and heat. In safety rambling o'er the sward For arbutes and for thyme they peer, The ladies of the unfragrant lord, Nor vipers, green with venom, fear, Nor savage wolves, of Mars' own breed, My Tyndaris, while Ustica's dell Is vocal with the silvan reed, And music thrills the limestone fell. Heaven is my guardian; Heaven approves A blameless life, by song made sweet; Come hither, and the fields and groves Their horn shall empty at your feet. Here, shelter'd by a friendly tree, In Teian measures you shall sing Bright Circe and Penelope, Love-smitten both by one sharp sting. Here shall you quaff beneath the shade Sweet Lesbian draughts that injure none, Nor fear lest Mars the realm invade Of Semele's Thyonian son, Lest Cyrus on a foe too weak Lay the rude hand of wild excess, His passion on your chaplet wreak, Or spoil your undeserving dress.

Varus, are your trees in planting? put in none before the vine, In the rich domain of Tibur, by the walls of Catilus; There's a power above that hampers all that sober brains design, And the troubles man is heir to thus are quell'd, and only thus. Who can talk of want or warfare when the wine is in his head, Not of thee, good father Bacchus, and of Venus fair and bright? But should any dream of licence, there's a lesson may be read, How 'twas wine that drove the Centaurs with the Lapithae to fight. And the Thracians too may warn us; truth and falsehood, good and ill, How they mix them, when the wine-god's hand is heavy on them laid! Never, never, gracious Bacchus, may I move thee 'gainst thy will, Or uncover what is hidden in the verdure of thy shade! Silence thou thy savage cymbals, and the Berecyntine horn; In their train Self-love still follows, dully, desperately blind, And Vain-glory, towering upwards in its empty-headed scorn, And the Faith that keeps no secrets, with a window in its mind.

MATER SAEVA CUPIDINUM

Cupid's mother, cruel dame, And Semele's Theban boy, and Licence bold, Bid me kindle into flame This heart, by waning passion now left cold. O, the charms of Glycera, That hue, more dazzling than the Parian stone! O, that sweet tormenting play, That too fair face, that blinds when look'd upon! Venus comes in all her might, Quits Cyprus for my heart, nor lets me tell Of the Parthian, hold in flight, Nor Scythian hordes, nor aught that breaks her spell. Heap the grassy altar up, Bring vervain, boys, and sacred frankincense; Fill the sacrificial cup; A victim's blood will soothe her vehemence.

Not large my cups, nor rich my cheer, This Sabine wine, which erst I seal'd, That day the applauding theatre Your welcome peal'd, Dear knight Maecenas! as 'twere fain That your paternal river's banks, And Vatican, in sportive strain, Should echo thanks. For you Calenian grapes are press'd, And Caecuban; these cups of mine Falernum's bounty ne'er has bless'd, Nor Formian vine.

Of Dian's praises, tender maidens, tell; Of Cynthus' unshorn god, young striplings, sing; And bright Latona, well Beloved of Heaven's high King. Sing her that streams and silvan foliage loves, Whate'er on Algidus' chill brow is seen, In Erymanthian groves Dark-leaved, or Cragus green. Sing Tempe too, glad youths, in strain as loud, And Phoebus' birthplace, and that shoulder fair, His golden quiver proud And brother's lyre to bear. His arm shall banish Hunger, Plague, and War To Persia and to Britain's coast, away From Rome and Caesar far, If you have zeal to pray.

No need of Moorish archer's craft To guard the pure and stainless liver; He wants not, Fuscus, poison'd shaft To store his quiver, Whether he traverse Libyan shoals, Or Caucasus, forlorn and horrent, Or lands where far Hydaspes rolls His fabled torrent. A wolf, while roaming trouble-free In Sabine wood, as fancy led me, Unarm'd I sang my Lalage, Beheld, and fled me. Dire monster! in her broad oak woods Fierce Daunia fosters none such other, Nor Juba's land, of lion broods The thirsty mother. Place me where on the ice-bound plain No tree is cheer'd by summer breezes, Where Jove descends in sleety rain Or sullen freezes; Place me where none can live for heat, 'Neath Phoebus' very chariot plant me, That smile so sweet, that voice so sweet, Shall still enchant me.

You fly me, Chloe, as o'er trackless hills A young fawn runs her timorous dam to find, Whom empty terror thrills Of woods and whispering wind. Whether 'tis Spring's first shiver, faintly heard Through the light leaves, or lizards in the brake The rustling thorns have stirr'd, Her heart, her knees, they quake. Yet I, who chase you, no grim lion am, No tiger fell, to crush you in my gripe: Come, learn to leave your dam, For lover's kisses ripe.

Why blush to let our tears unmeasured fall For one so dear? Begin the mournful stave, Melpomene, to whom the Sire of all Sweet voice with music gave. And sleeps he then the heavy sleep of death, Quintilius? Piety, twin sister dear Of Justice! naked Truth! unsullied Faith! When will ye find his peer? By many a good man wept. Quintilius dies; By none than you, my Virgil, trulier wept: Devout in vain, you chide the faithless skies, Asking your loan ill-kept. No, though more suasive than the bard of Thrace You swept the lyre that trees were fain to hear, Ne'er should the blood revisit his pale face Whom once with wand severe Mercury has folded with the sons of night, Untaught to prayer Fate's prison to unseal. Ah, heavy grief! but patience makes more light What sorrow may not heal.

The Muses love me: fear and grief, The winds may blow them to the sea; Who quail before the wintry chief Of Scythia's realm, is nought to me. What cloud o'er Tiridates lowers, I care not, I. O, nymph divine Of virgin springs, with sunniest flowers A chaplet for my Lamia twine, Pimplea sweet! my praise were vain Without thee. String this maiden lyre, Attune for him the Lesbian strain, O goddess, with thy sister quire!

John Conington's translation of Horace's Odes and Carmen Saeculare, first published in the 1860s, opens with a preface that candidly acknowledges the difficulty of rendering Horace's 'incommunicable grace of expression' into English verse. Conington argues for metrical conformity to the original, warning that a looser measure would dilute Horace's sententious brevity—the very quality that makes him 'a storehouse of quotations.' The translator's self-deprecating tone, comparing his work to a whetstone that 'impart[s] to others a quality which it is itself without,' sets the stage for a collection that prizes structural precision over expansive paraphrase.

Metre and the Shape of a Stanza

Conington's preface insists that the translator must preserve 'some kind of metrical conformity' to Horace's original. He illustrates this with examples of sententious lines—'Non, si male nunc, et olim sic erit'—arguing that a longer measure would 'spoil the proverb by expansion.' The odes themselves demonstrate this principle: in Angustam amice, the stanza's tight quatrains mirror the compressed moral advice ('To suffer hardness with good cheer'). The translator's choice of metre directly affects how a reader encounters Horace's characteristic juxtaposition of public duty and private reflection.

Recurring Images: Sea, Storm, and the Precarious

Across the odes, Horace returns to the sea as a figure for risk and ambition. In the first excerpt, the man who 'has competence' defies 'the tumult of the sea' and fears neither Arcturus nor the Kid-star. Later, 'Fish feel the narrowing of the main / From sunken piles' as contractors encroach on the water. The sea is never static: it is a site of labor, danger, and moral testing. Storm imagery reinforces this—hailstorms, 'winter's barbarous reign,' and winds that 'chafe the sea' recur as forces that humble human pride. These elements are not mere decoration; they anchor Horace's ethical arguments in physical reality.

Movement Between Public and Private Scenes

The odes shift abruptly between registers. Justum et tenacem begins with the 'man of firm and righteous will' unmoved by rabble or tyrant, then leaps to Pollux, Hercules, and Augustus 'couch'd at ease' among the gods. The same poem contains Juno's long speech condemning Troy, a mythic flashback that reframes the present. This movement is not random: it creates a layered sense of time, where heroic past and imperial present coexist. Conington's translation preserves these transitions without smoothing them, forcing the reader to follow Horace's associative logic.

The Translator's Visible Hand

Conington does not hide his presence. The preface admits his 'inferior pretension' and frames the translation as 'embodied criticism.' In the odes, his diction occasionally betrays a Victorian sensibility—'guilty Pomp,' 'fierce Alarm' personified—but he also captures Horace's abruptness: 'Sleep knows no pride; / It scorns not cots of village hinds.' The translator's choices, such as rendering 'Angustam amice' as 'To suffer hardness with good cheer,' reveal his attempt to balance literal meaning with idiomatic force. Readers attuned to translation as an art will find Conington's decisions as instructive as the poems themselves.

Conington's Horace rewards attention to structure: the way a stanza turns on a single image, how a mythic digression reframes a moral point, or how a repeated word—'fear,' 'sleep,' 'sea'—ties disparate odes together. The preface offers a clear rationale for the translator's method, but the proof is in the verse. Readers may wish to compare Conington's versions with the Latin or with other translations; the differences will illuminate both Horace's original and the challenges of carrying it across centuries and languages.

Conington’s Horace reminds me how often we brace against storms we cannot steer, that old Roman ache for solid ground. It made me think of another kind of quest for refuge, one woven into legend rather than lyric. There is something tender in both, the longing for a safe harbour, real or imagined. The Legend of Monte della Sibilla; or, Le paradis de la reine Sibille — A Reader’s Guide holds that same quiet, wistful pull for me.

Ella Wilson
3 weeks ago

Isabella Jones
3 weeks ago

3.5
3.5 out of 5 (2 User reviews )

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  • ...
    Nancy Jones - 1 month ago
    A solid collection of Horace's poetry with a scholarly introduction. The translation is readable but occasionally lacks the lyrical rhythm of the original. The notes are helpful, though some passages remain dense. Overall, a reliable resource for studying Horace, but not the most inspiring translation for newcomers. Still, it serves its purpose well.

  • ...
    Katherine Shaw - 3 weeks ago
    This edition of Horace's Odes and Carmen Saeculare is a treasure. The translation captures the elegance and wit of the original Latin, and the accompanying notes clarify historical and mythological references. The poetic beauty shines through, making it a joy for both scholars and casual readers. A must-have for any classical literature enthusiast. The binding and typography are also pleasant.

  • ...
    Kimberly Peterson - 3 weeks ago
    This translation feels stilted and overly literal, making the poems feel clunky. The beauty of Horace's language is often lost, and the notes are too few to rescue the reader from confusion. For a collection of such famous odes, this edition disappoints. Those seeking a more poetic translation should look elsewhere. Not recommended for casual readers.


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