Select elegies, ed. with intr., notes and appendices by J.P. Postgate

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K-"

SELECT ELEGIES

OF

PKOPEETIUS.

SELECT ELEGIES

OF

PKOPEKTIUS

EDITED WITH INTRODUCTION, NOTES,
AND APPENDICES

BY

J. P. POSTGATE, M.A.,

FELLOW AND LECTURER OF TRINITY COLLEGE, CAMBRIDGE;
PROFESSOR OF COMPARATIVE PHILOLOGY IN UNIVERSITY COLLEGE, LONDON.

In magnis et uoluisse sat est.

SECOND EDITION.

Hontton :
MACMILLAN AND CO.

1885.

[The Right of Translation is reserved.]

I

CDamfctoge :

PRINTED BY C. J. CLAY, M.A. & SON,
AT THE UNIVERSITY PRESS.

* > 4

HENRICO JACKSON

TP0<t>6IA.

p.p.

CONTENTS.

PbETACE

Introduction on the Life and Wobks or Pbopertius

Chapter I. Life and Character

II. Works and Style

HI. Grammar and Vocabulary

IV. Metre and Prosody

V. Literary History

Fasti Propertiani

»»
>»

Text

Notes ......

Table op the relations of Cobnelia

Appendix A. Manuscripts and Conspectus of Bead

ings

B. On fulcire and its cognates

C. Comparison with the numbering of
other editions

»»

»»

Index to Notes

page
ix

• ••

xm
xlviii

lxxxix
cxxvi

cxxxvi

cxlviii

1

45

247

248
260

262

2G4

<v

PREFACE.

The object of this book is two-fold, to provide the
students of Fropertius with an annotated edition of
a portion of the poems of Propertius and a general
introduction to the study of the whole.

In selecting the poems, I have not picked out all
the easiest or most interesting, but I have endeavoured
to make the selection representative of my author's
subjects and of his style, and I am very confident that
those who are attracted by the poems that I have
selected will not be disappointed when they read the
remainder. In forming my text, which is chiefly
based on the critical materials of Hertzberg supple-
mented by those of Baehrens, I have been generally
guided in cases of doubt by internal considerations,
which are our sole stay when the relative values of
manuscripts have still to be determined. (Compare
the remarks in Appendix A.) I may add that I have
spent some pains to make the spelling as near as
possible to that of the age of Propertius.

In my notes, whether original or drawn from the
sources specified below, I have endeavoured to be
suggestive rather than exhaustive, but I trust that
they will supply all the information required for
understanding a very difficult author. With that end
in view, I have given arguments for most of the
poems, and a complete translation of the first half;
in performing which most delicate task, I have aimed

x PMEFACE.

at preserving, as far as I could, the full sense and
general style of the original. I am afraid that my
readers will find a certain want of uniformity in the
notes due to the fact that I have had to work at them
intermittently and at long intervals. But I trust
that it will not be serious enough to cause any
practical inconvenience.

Through pressure of space I have often passed over
explanations which I believe to be wrong but which
would have been noticed in a larger commentary.
I mention this expressly, as it might otherwise be
thought that I was ignorant or negligent of the work
of my predecessors. I have however generally re-
corded the opinion of the only English editor of
Propertius, Prof. F. A. Paley (abbreviated P.), where
it differs from my own.

Besides Mr Paley's edition, I have consulted the
following, of which the ones marked with a star are
those that I have found the most useful.

*JScaliger f Passerat (chiefly in Volpti* edition),
* Volpi, Broukkwye, *Bv/rvtoann t *Lachmann (chiefly
the first edition), PaZdamu*, Barlh, Kuinoel, * Becker
(selections), *J£ertzberg 9 Carutti, * Jacob >, Rett and
L. Midler.

Baehreru? and Palmer's texts came into my hand*
when the bulk of my work was done. But I have
nevertheless been able to make some use of them. In
preparing the Notes and Introduction I have also
referred to several programmes and dissertations as
well art papers in the learned journals. Amongst the
former I may mention those of Nobbe, Peerlkamp,

PREFACE. xi

lleydenreich, EscJienberg, *LiUjolharm, *Conr. Ross-
berg t JSandstrom, Faltin, *Haupt (Opuscula) <fca

In the Introduction my obligations to the fore-
going are chiefly to Hertzberg, Vol i., and in Ch. TV.
to L. Mailer. But the greater part of it is the out-
come of independent reflection and research, and
-where my facts are taken from Hertzberg my treat*
ment of them is often quite different to his. I must
ask leave again to point out that I have often been
obliged to be briefer than I could have -wished, and
that in consequence the facts that I have advanced
for a position are generally intended to be examples
to elucidate it, not evidence to prove it. The same
enforced brevity has often prevented me from deve-
loping a question into all its collateral issues and
defining its relations to everything connected with it.
To take a single example, I have given a short sketch
of the grammar of Fropertius without, as a rule,
attempting to frame it, as it were, in the grammatical
usage of the Latin language as a whole.

Of Grammars, I have chiefly used Roby, Kuhner
and Draeger. I have referred very frequently to
Becker's Gallus and Rich's Dictionary of Antiquities,
books which no student of Latin literature should be
without ; and also to Mr Potts' useful ' Latin Prose/

I have quoted Propertius both by L. Muller's and
by Paley's editions (see note on p. li.) ; and I have
added a comparative table of the numbering in these
editions, and those of Baehrens and Palmer, which
should be referred to in case of doubt.

xii PREFACE.

In conclusion, I wish to express my best thanks
to Pro£ R. Ellis, who has sent me from time to time
notes published and unpublished on various passages
of Propertius; to Prof. A. Palmer for some friendly
criticisms and suggestions; and above all to Mr J. S.
Reid (J. S. R.), who offered unsolicited to revise my
proof-sheets, and from whose observations my com-
mentary has derived much advantage, which is by no
means confined to the passages where I have quoted
him by name. Nor must I forget my brother,
Mr L. H. Postgate, who has contributed what I trust
will prove a useful index to the Notes.

I have only to add that I shall be very much
obliged for any criticisms or suggestions.

J. P. POSTGATE.

Tkinitt College,
April 12, 1881.

The second edition of these selections differs in
very few respects from the first. Some obvious errors
and misprints have been corrected, and one or two new
interpretations inserted. I take this opportunity of
tendering my sincere thanks to the scholars and
reviewers for the favour and friendly criticism which
my work has received at their hands and the en-
couragement thus given me towards the larger under-
taking of a complete edition of Propertius.

J. P. POSTGATE.

Cambridge,
December 1, 1834

INTRODUCTION.

CHAPTER I.

LIFE.

With the exception of his own poems, the mate-
rials for constructing a life of Propertius . A _, A .

, , ° . i • . Authorities.

are meagre in the extreme, and consist
chiefly of scattered allusions in writers of very various
dates from Ovid to Appuleius. The poems furnish
us with considerable information ; but it is often diffi-
cult to utilize it, as we do not know how far we are to
accept his expressions, nor how much we are to deduct
for the habit of vague exaggeration which is character-
istic of his work.

It may be safely said that few poets present more
problems than Propertius; and the first,
though the easiest, is the ascertainment
of his name.

We have the authority of the grammarian Dona-
tus 1 that it was Sextus Propertius simply. Aurelius
and Navta y to which in course of time Meuanienris
and Vmber might have been added, have been obtruded
on him by the undiscriminating bounty of tradition and
are the figments of ignorance, corruption or confusion*.

1 Verg. Vit. 12. 45.

* Aurelius is probably due to confusion with the Christian
poet Pmdentius, a later age finding no difficulty in his

XIV

INTRODUCTION.

Like most of the great poets of Italy, Propertius
came from the North* He tells us himself Biramlae ^
that he was an Umbrian and carefully p ^

describes the district where he was born, the fair and
fertile valley between Perusia and the river Clitum-
nus. But the exact locality has been disputed. Meua-
nia, now Bevagna, EispeUum, now Spello, and other
towns have claimed the poet for their own : and their
claims * have been supported by argument and, we
grieve to add, also by forgery. But there is no doubt
that it was Asisium or Assist, the birth-place of the
famous St Francis, that is entitled to the honour.
His native place was on the side of a hill not far from
Perugia, as his expressions clearly shew, si Per us in a
tibi patriae sunt nota sepulcra, proximo, supposito
contingent Vmbria eampo me genuit 1 and scanden-
tes si quia cernet de uallibus arces, ingenio muroe
aestvmet Ule meo*. Now Asisium is situated on. the
west slope of the Apennines at the head of the valley,
about twelve miles from Perusia, while Hispellum is
at their foot, and Meuania some distance in the plain,
both being over twenty miles from Perusia* This
identification is completely established by the general
description which the poet gives of his native country,
in which there is a distinct allusion to the passage
already quoted: Vmbria te notis antiqua Penatibus
edit (mentior an patriae tangitur ora tuae ?) qua nebvr
losa cauo rorat Meuania campo et locus aestiuis intepet
Vmber aquis scandentisque Asisi consurgit uertice
murus murus ab ingenio notior tile tuo*. We hear
little about Asisium in ancient writers. Its chief

having two gentile names. Nauta arose from a corrupt read*
ing of in. 19 (16). 38 ; Propertius as a nauita dines is certainly
a rich idea. Meuaniemu (to he discussed presently) and Vmber
appear in G. Of all the mss. N alone is sober. Its title is in-
cipit Propertius.

1 i. 22. 9. * v. 1. 65, 66. ' v. 1. 121 seqq.

INTRODUCTION. xr

importance seems to have been military. The modern
town contains a considerable number of remains,
amongst which we may mention the portico of a
temple, an aqueduct and baths.

The natural advantages of this region, and espe-
cially of the southern part of it, the tract watered by
the Clitumnus, have called forth the warmest admira-
tion from the younger Pliny onwards 1 . The bold
forms of the Apennines, and their contrast with the
peaceful beauty of the lower valley with the Clitum-
nus flowing between rich pasturages on which grazed
herds of snow-white oxen, designed for the service of
the Gods, or spreading out into a clear expanse, so
shallow as to be warmed by the summer sun and so
broad as to earn the title of the 'Umbrian Lake/
could not fail to impress the early imagination of Pro-
pertius, which clung closely to local attachments; and
the sadness of later events only deepened the recollec-
tion.

The Propertii were what we should call a 'good
county family.' They were well known in „ „
their own neighbourhood, and enjoyed the *"*
consideration attaching to large landed proprietors.
But they were not * noble ' ; they had not attained to
high official distinction at Home *. About the time of
Augustus the family, in one at least of its branches,
was rising into notice. There is an inscription 3 , which

1 Plin. Ep. 8. 8. Compare the description in Dante Para-
dise xi. 63 seqq. ' Between Tupino and the wave that falls
From blest Ubaldo's chosen hill, there hangs Rich slope of
mountain high whence heat and cold Are wafted through
Perugia's eastern gate. * * * Upon that side, Where it doth
break its steepness most, arose A sun upon the world. 1 (Cary.)

9 Compare the noti Penates, which I refer to Propertius'
family, with m. 32 (26). 55, 66 aspice me cui nulla domifortuna
relictast nullus et antiquo Marte triurnphtis aui and in. 19 (16).
37 nee sanguine auito nobilit. v. i. 121 — fin. is the authority
for most of the statements about Propertius* life.

* Corp. Inscr. vi. 1501 and Hermes Vol. rtr. p, 370.

xri INTRODUCTION'.

Mommsen refers to this period, of a Gains Propertras,
who, amongst other offices, was Uwmuir capitaH* and
proconsul. In later times we hear of a Propertius
Celer, a senator in the reign of Tiberius, who was too
poor to support his rank and received from the empe-
ror a subvention of a million sesterces 1 ; and of Pro-
pertius Blaerus (Passenmu Paulhu), an eques splendid
du$, for whom see below.

The date of Propertras? birth is uncertain. We
hare only the testimony of Ovid that he
was older than himself*, but not too old
to be his companion. Again he places Propertras
and Tibullus as the two links in the elegiac chain
between himself and Cornelias Gallus*. Now Ovid was
born in B.a 43 and Gallus in 69. So that we shall
probably be near the mark in making him from six to
eight years older than Ovid and in putting the year of
his birth as 50 or thereabouts.

His youth was crowded with misfortunes. He
lost his father early, and, soon after, his
large and well cultivated estate in the arv
general confiscation of 41, a misfortune which be
shared with Virgil, Horace and many others. The
indignation aroused by the arbitrary measures of the
triumvirs caused a general rising in the North under
the leadership of L. Antonius, brother of the Triumvir,
and the notorious Fulvia. This outbreak, generally
called the bellum Pervsinum, was crushed by Octavian
by the capture and sack of Perusia in 40. This siege,
which seems to have been attended by circumstances
of peculiar horror, made a deep impression on the
poet's suBoeptible imagination; the more so as it
proved fatal to another of his relations 4 , who has been

i Tao. A. 1. 75.

' Ov. Tr. 4. 10. 45, 46.

* id. 1. o. yv. 58, 54; of. Tr. 2. 467.

< I. 99. 5—8.

INTRODUCTION. xvii

generally identified with the G alius who was killed in
the fight of the Antonian army, and whose death is
the subject of I. 21. In this case he was probably
related to the poet by the mother's side. Whether
there was anything saved from the wreck of the poet's
property is not known. He and his mother may
have found shelter with her own kinsmen, or her own
property may have been untouched. From his ex-
pressions which vary a good deal we should conclude
that he was reduced to comparative poverty but not
to penury (tenues Lares — nulla domi fortuna relicta—
turn ita diues). At any rate his mother managed to
secure him a superior education, of which his poems
bear abundant traces, possibly (like Horace) at a ludus
in Borne. After rarating the toga of manly freedom
about 34, we find him with his mother in Home,
where he was probably urged to study as a pleader.
But, like Ovid, he found the attractions of love and
poetry too strong ; or, as he puts it himself, * Apollo
forbade him to thunder phrases in the frenzied forum '
(v. 1. 134).

Soon afterwards he made the acquaintance of
Lycinna. We do not know who she was, j^dnna
nor how long the attachment lasted. It oua^ment.
is however probable from the way in which Propertius
speaks of her that his heart was not seriously engaged,
though she seems subsequently to have excited the
jealousy of Cynthia and been exposed to all her powers
of persecution (uexandi) \ It is not necessary to sup-
pose that Propertius was idle during this period. He
was probably engaged in studying Greek and Roman
literature and antiquities, and earning the name of
doctus y to which no Roman poet has a better right
than he. It is also possible that he may have written
some of the archaeological poems in the fifth book.

1 iy. 13 (15). 3—10, 43.

xviii INTRODUCTION.

But the mistress of his life and the directress of
his inspiration was now to appear upon Cynthia
the scene, the famous Cynthia. Her real auachment
name was Hostia 1 , and she was a native of Tibur\
But her condition in life has been a much disputed
question. There is now however no reasonable doubt
that she was a courtesan of the higher class. All the
evidence points in this direction. Her accomplish-
ments which were those of a Thais, her house in the
Subura 3 , the occurrence of scenes like those in I. 3,
mi. 27 (21), 31 (25), v. 8, the mention of a Ima (v. 5),
and above all the fact that Propertius could not have
married her, admit of no other explanation 4 . But,
though a meretrix, she was not an ordinary one. She
had inherited literary distinction from her grand-
father, probably the poet Hosbius, who wrote a poem
on the Ulyrian war of 178, and flourished about the
time of the Gracchi*. Of her personal appearance
Propertius has left us glowing accounts . She was

1 Appul. Apol. p. 415. 2 v. 7. 85.

8 We do not know how large an establishment she had
there. Eight slaves are mentioned by name in v. 7. 35 sqq.,
73 sqq. one of whom, Lygdomus, was probably a present from
Propertius. Horace puts the minimum for a man at ten,
Sat. 1. 3. 12. She had no near relations alive with the excep-
tion of her mother and sister (ii. 6. 11, 12) who probably died
before her, or they would have been mentioned in v. 7. Com-
pare in. 11. 11 (9. 33) cum tibi nee frater nee sit tibi JiUw
ullus, &c. which is a way of saying that she had no male pro-
tectors.

4 We shall not be doing any wrong to the gens Hoetia in
adopting this supposition. The only members of it that we
have records of were far from reputable: e.g.L. Hostiuswasthe
first parricide after the Punic war (Plutarch Bomul. 22).

6 See rsr. 20. 8 splendidaque a docto fama refulget auo.
Some fragments of this poem have been preserved. Here is
one from Festus s. v. te*ca: Hostius belli Histrici L 1: per
gentes alte aetherias atque auia tesca perque uolabis templa
antiqua deum. It was written in an archaic style.

6 ii. 2. 5 sqq., 3. 9 sqq., in. 3. 23, 24. Allusions to the

INTRODUCTION xix

tall, stately, and well proportioned, with long tapering
hands, a clear zed and white complexion, dark brown
hair and brilliant black eyes. Her eyes especially
and her graceful movements are the theme of the
poet's perpetual admiration. To these she added
other attractions. She was a skilful player and ac-
complished dancer and an adept in the processes of
the loom. She had inherited a taste for poetry too,
and wrote verses whose merits she did not underrate \
Of her character we eannot form so favourable an
estimate, at any rate if we believe what her lover
says. She had all the faults of her class — fickleness,
avarice, and an excessive love of finery. To these
she added a very violent temper, which often vented
itself in slander of those who had offended her. It is
curious that we hear nothing of her good qualities.
Probably she had some. At any rate she seems to
have entertained for Propertius all the affection of
which she was capable*.

beauty of her eyes occur again and again, beginning with the
very first line, Cynthia prima suis miserum me cepit ocelli*.

1 ii. 3. 21 et sua cum antiquae committit scripta Corinnae,
carmina quae quinis (Bossberg) non putat aequa suis. For her
accomplishments see, besides the passages cited, i. 2. 27 sqq., jv.
19 (20). 7, 8. He frequently calls her docta paella, e. g. in. 2. 6.

9 I am not responsible for this not very nattering portrait.
It is drawn from Propertius himself. Possibly it needs mitiga-
tion in some respects. It must be remembered here, as else-
where, that we have only one side of the picture and that
independent evidence, if we had it, might deprive Cynthia of
some of her wonderful charms, but restore her some amiable
traits. For her fickleness see the subsequent history aud com-
pare also i. 15; 16. n. 6 (where he says she had as many
lovers as Lais, Thais or Phryne) ; 8 ; 9. in. 14 (12) ; 20 (17) ; 30
.(24). Her love of money resulted from her love of ornament.
Propertius often complains of both; e.g. in. 8 (7). 11, 12
'Cynthia does not care for office or distinction. She always
weighs her lover's purse' (semper amatorum ponderat una
rinus) ; ni. 11. 1 (9. 23) sqq. Sometimes his complaints seem
just (l 15) ; sometimes they are amusing in. 18 (15). 11 et modo

INTRODUCTION.

We do not know bow she became acquainted with
Propertius. Possibly she heard of him
through Lycinna; possibly the young poet ^HS^ h€
may even then hare gained a name amongst
his private acquaintances which attracted the poetic
Cynthia. It is certain that she made the first proffers
of affection, and proposed to the poet that he should
supply the place of a lover who had just deserted
her to go to Africa 1 , To these he eagerly responded;
for he was captivated by the beauty and charms of
Cynthia. The disparity of their ages — for she was a
good deal older than he — was not felt to be a bar, and
may have been an attraction. The intimacy began in

pauoniB cauda© flabella superbae et manibus dura frigus habere
pila et cupit iratum talos me poscere eburnos quaeque nitent
Sacra uilia dona Via. But we gather from what he says him-
self that he knew these to- be common failings (ni. 8 (7). 17 —
20) and that he had less cause than others to complam. For
ha was exceptionally favoured ; see e.g. i. 8 and notes, and in.
18 (11). 25, 26 'I nave never bought your preference by rich
gifts ; quioquid eram, hoc animi gratia magna tui'; and he
indulged her taste for magnificence himself, e.g. n. 3. 15, 16
neo si qua Arabio lucet bombyce puella — non sum de nikilo
blandus amator ego fit costs me something to be an attractive
lover'; P.'s translation is wrong). His somewhat voluptuous
nature was sensible to the charms of attire. He associates his
first conquest with a particular dress, qua primum oculos cepisti
uette Properti indue, neo uaouum florerelinque caput rv. 9 (10).
15 ; perhaps the purple tunic of m. 27 (21). 26 non ilia mini for-
mosior umquam uisa, neque ottrina cum fuit in tunica* Her
violent temper too pleased him: he regarded its outbursts as
proofs that her heart was really touched rv. 7 (8), esp. 10 nam
sine amore graui feznina nulla dolet, 28 semper in irata
pallidus esse uelim. But when she was seriously angry, he
felt it as taeuitia (i. 8. 18). For her love of slander see i. 4.
18 sqq. soiet haeo insana puella et tibi non tacitis uocibua

hostis erit et te circum omnes alias irata puellas differ et ; cf.

in. 17 (14). 17 ; 18 (15). 7 and 10. It was her personal attrac-
tions that kept Propertius at her side. He tells her so himself,
iv. 7 (8). 85 gaude quod nuUatt neque formosa, doleret si qua
foret: nuno sis iure superba licet,

* Bee it. 20 which was written on the occasion.

INTRODVOTION. xxi

28. For we have poems addressed to Cynthia from 28
to 23, and Propertius tells us his # faithful servitude '
lasted jwe years, which is probably exclusive of a year
of separation 1 .

For two years hardly a cloud marred the serenity
of the lovers' day. There were no doubt
the usual quarrels, partings, and recon- First period.
ciliations ; and at one time it seemed possible that
Cynthia would be tempted by the splendid offers of a
Praetor to accompany him abroad. But Cynthia was
true to her self-chosen lover, and the Praetor had to
depart alone. Propertius on his part was equally
firm in resisting the solicitations and expostulations
by which his father's friends 2 sought to draw him
away from his mistress. The majority of the elegies
in the first book are the outcome of this, the most
fortunate period of his attachment ; and in their tone
they differ widely from the rest. There is a noticeable
absence of the bitterness which pervades some of the
later Cynthia elegies ; they are gentler, tenderer,
and more trustful. Another source of anxiety also
passed away. After his power was established and
his victory over his rivals magnificently celebrated,
Augustus turned his attention to social reforms. The
evil which called most clamorously for redress was
the wide prevalence of celibacy and the moral cor-
ruption which it at once betokened and aggravated.
Augustus brought forward a repressive measure, of the
same tendency as the one passed in B.C. 18, inflicting
severe penalties on those who continued obstinately
in the single estate 3 . This would probably have parted
the lovers, as Propertius in spite of his protestations

1 iv. 25. 3 quinque tibi potui seruire fideliter annos.

8 i. 1. 25, iv. 24. 9.

3 The measure is generally placed in b.o. 27. It is probably
referred to in i. 8. 21 (n.), and it is the subject of u. 7, which
was written some time after the law had been proposed (v. 2
quondam edicta).

P. P. c

xxii INTRODUCTION.

would have been unable to resist an imperial edict,
and he could not legally many a woman of Cynthia's
class 1 . But the danger passed, and the law was allowed
to drop (sublata) in consequence of the opposition
which it encountered and the pressure of external
affairs.

But this mutual happiness was now to be broken
up. Propertius fell away from his faith, separatum for
His defection was severely punished. «i«w-
He was banished from his mistress' presence for a
year*. We must suppose that Cynthia's feelings were
deeply piqued and even wounded by this conduct, as
she visited it with a punishment which, she did not
extend to later infidelities.

The separation seems to have quite unbalanced
Propertius, and partly to still the cravings of an
unsatisfied passion, and partly in retaliation for
Cynthia's severity, he plunged into reckless dissipa-
tion 3 . But all in vain. His passion, to which absence
had only given a double intensity, gave him no rest,
until exhausted by its own efforts it gradually sank
into a dull and resourceless despair. This stupor of
grief is embodied in the elegy which was afterwards
prefixed to Book I., and which forms the most gloomy
opening to a book of love poems that can well be
conceived.

About the beginning of 25 a reconciliation took
place ; and soon after, perhaps as a peace- JtoMlieilWtol .
offering to Cynthia, the first book was Second period.
published and inscribed with her name : and imme-
diately gained for its author and its subject a wide

1 TJlpian quoted by Hertzberg i. p. 36.

3 iv. 15 (16). 9 peccaram semel et totum sum pulsus in
annum.

* Laohmann's explanation of the circumstances of i. 1
seems to me unquestionably correct. See his introduction.
Hertzberg's caution however as to the uncertainty of the data
must be borne in mind.

INTRODUCTION. xxiii

and enduring reputation 1 . Soon after this Propertius'
mother died. Her son had carefully tended her de-
clining years, and though she is only three times
mentioned in the poems', we can gather from incidental
expressions that this was a labour of love.

The intimacy thus renewed lasted for three years.
For the first few months all was sunshine. Compare
II. 3. 3 sqq. with in. 13 (11). 21 sqq. septima iam
plenae deducitur orbita lunae, cum de me et de te corn-
pita nulla tacent; interea nobis non numquam ianua
mollis, &c. But the bond had been too severely
strained for this to last. Though it seems that neither
party now demanded from the other a single devotion,
yet, when either fell back into old ways, retaliations
and recriminations could not fail to ensue: in. 8 (7),
cf. 30 (24). The Praetor returned from Ulyricum, and
found Cynthia more compliant than formerly; and Pro-
pertius consoled himself with a Phyllis or a Teia (v. 8.
31 sqq.). Besides Propertius was awaking to a sense
of the turpitude of a connexion which, though ex-
cusable in a youth, was entirely out of keeping with a
more advanced age. Thus we find him in iv. 21 con-
templating or undertaking a voyage to Athens to find
in its distractions a cure for his degrading passion.
So in iv. 16 (17) he would seek a remedy in the potency

1 ni. 18 (15). 1 cum sis iam notofabuia libro et tua sit toto
Cynthia lecta foro, Mart. 14. 189 Cynthia, facundi carmen
iuuenile Properti, accepit famam nee minus ipsa dedit,

9 Viz., ii. 8.39,iii. 13 (11). 15, 1. 11. 21 an mini sit maior
carae custodia matris ? Compare the sympathy which Proper-
tius shews with a mother's feelings in the Paetus, Marcellus
and Cornelia elegies, and the usage of mater and maternus.
There is nothing similar in the case of pater and paternus, as
we might expect from Propertius having lost his father so
early. We do not know precisely when his mother died : hut
he had lost both parents when in. 13 (11) was written, i.e. six
months after the first book was published, v. 15 ossa tibi iuro
per matris et ossa parentis; si fallo, cinU, heu, sit mini uterque
grauis.

c2

xxiv INTRODUCTION.

of Bacchus. If we suppose, as I think we may, that,
on the whole, the poems in Book iv. (in.) are later than
those in Books n. and in. (Bk. n.), we may see in its
quiet beauty and measured tone, as contrasted with their
bursts of anger and jubilant outcries, a sign that the
end was near.

All the same the last two elegies of Book iv. jar us
with a harsh surprise. By this time love second separa-
tism cooled almost to indifference. The tiolu
glamour which no friendly counsels, no remedies, nay-
no aid from supernatural powers could dispel, has van-
ished of itself. The blaze and the heat of passion are
extinct ; and Propertius takes the cinders and flings
them coolly and contemptuously away. 'Woman' (he
nowhere else uses this slighting form of address), your
reign is over. My shameful hallucination is past.
Go to a loveless old age to be flouted by others as you
have flouted me 1 .'

This separation probably took place in b.c. 23
which is the last year to which we can assign any of
the Cynthian elegies*. Cynthia survived the separa-
tion, but not for long 8 . As we have already said, she
was considerably older than Propertius, and had al-
ready had an illness in which her life was despaired of 4 .
Whether a reconciliation took place before her
death turns on the interpretation of v. vii., subsequent
a poem full of difficulties which have been ***<»?•
neglected by the commentators.

1 These expressions seem to us harsh and cruel in the
extreme. But the ancient Greeks and Romans were destitute
of chivalry : and Propertius may even compare favourably with
the cold-blooded exultation of Horace in similar cases, Od. 1. 25,
4.13.

a See below, p. lii.

8 She probably died before B.C. 18. The longer we suppose
her to have lived, the less likely was the reconciliation to have
^ken place.

4 hi. 24 seqq. (20) compared with n. 9. 25—27.

INTRODUCTION. ±xr

It represents the spirit of Cynthia as appearing in
a dream to the poet shortly after her „ . ,.

, T .. , r , , , . J n Examination

death, in it she rebukes him for so soon of Book v.
forgetting their love (13—22) and for his EU9yviU
carelessness in superintending her funeral (23 — 34).
She insinuates that her death has been caused by
poison and that the torture test should be applied to
her slaves (35 — 38). She accuses Propertius of ex-
alting to her place a rival of the lowest class, whose
name we are told in v. 72 was CMoris, and allowing
her to wreak her malice on Cynthia's slaves and to
melt down the gold statuette which she had taken
from the burning pyre (39 — 48). Then, after saying
she will not' chide Propertius although he deserves it,
she passes on to describe her lot in the world below
(49 — 70). Then she gives him some instructions. Her
nurse Parthenie is to be shielded from want in her
declining years; Latris, her favourite maid, is not to
wait on a new mistress. Propertius is to burn the
verses he has written in her honour. Lastly he is to
clear away the ivy which is strangling her in her tomb
by the Anio, and write upon it an epitaph which she
dictates (71 — 86). And now she must leave him:
for the morn is approaching. But it is only for a
while. Though he is another's now, he will soon be
hers. 'Mine' she adds in a ghoulish line: mecum eris
& mixti» ossibus ossa teram. And then she vanishes.

Can anyone read this poem and suppose that the
last two elegies of Book iv. represent the final act of
the Ci/nthia drama? And even supposing that her
death had so far softened Propertius that this sym-
pathy and even this self-reproach was possible, can we
neglect precise expressions like those in w. 5, 6 and
14 in te iam uires somnus habere potest? Why the
iam, if they had been parted for years? It seems to
me that this compels us to conclude that the lovers
were reconciled once more. Possibly Cynthia finding

xxvi INTRODUCTION.

her health declining recalled her ancient lover, and he
remembering only her kindness and forgetting her
faults, softened by time and absence, came once more
to help her in her need, and stood by the sick bed as
in the olden time. But what are we to say of the
contents of the poem? Can we pretend that it is pure
poetic fiction, that the persons who crowd it, Chloris,
Petale, Nomas, <fcc., its detail of circumstance, its air
of life and reality are, after all, mere phantasmagoria
and as shadowy as the vanishing Cynthia herself?
Better say that the poem is a fictitious account of an
imaginary occurrence, and that Cynthia did not die
nor Propertius celebrate her death \ But, on the other
hand, can we give unquestioning belief to the voice
from the tomb? Shall we suppose that Propertius
had sought a new mistress, ere the ashes of the first
were cold in their urn, to occupy her place in her house
and to tyrannize over her faithful slaves, that he had
neglected the poor ceremonies which custom claimed
for the dead, and demanded from an heir, nay that he
had suspected that there was poison in her death and
had not tracked the odious suspicion? Then, in spite
of the preceding history, we shall have no scruple in
believing Cynthia when she solemnly avers that she
has kept her faith to Propertius (vv. 51 — 54).

If we would rightly estimate the meaning of this
poem, we must keep several considerations before us.
First we must allow for that propensity to exaggeration
in Propertius, which is always leading him to overstate
and overcolour, and of which we shall speak anon.
Again we must bear in mind that he is presenting

1 This would at least be more in keeping with the Proper-
tian genius whose ordinary tendency is to make the circum-
stantial vague and not vice vena. We may account for the
difference in this and some other cases by supposing that the
vividness and singularity of the events had photographed their
smallest details upon his memory.

INTRODUCTION. xxvii

Vt/nthda 9 8 case, and realizing it vividly and poetically.
Lastly we must deduct something for the self-upbraid-
ings of grief and bereavement, and we must remember
that in such a case it is in large measure true that
qui tf accuse s'eoomse. To sum up, I think we may
fairly state the circumstances of this poem as follows.
Cynthia had died shortly before it was written, from
an illness whose origin was obscure 1 , leaving to Pro-
pertius the disposal of her effects and the arrangements
for her burial. In the prostration of his grief he
seems not to have superintended the execution of his
instructions for the funeral and to have allowed a
certain Chloris, otherwise unknown, to usurp an un-
authorised authority over the household. And this
poem is an expression of contrition and an earnest of
reparation.

Thus ended an intimacy which is for us by far the
most important incident of Propertius* life. Without
the stimulus of his love and without the sympathy and
encouragement of his beloved his genius might never
have broken the crust of lethargy which covered it.
He himself says that his love stood him in the stead
of genius; and with the proper interpretation this
confession is true*. With its extinction decayed his
poetical activity, and it is no accident that the only
poems which can be assigned to a later date, viz. v. vi.
and v. xL, were written for special occasions and at the
request of others. ' His Muse,' as Hertzberg says, ' sank
to silence with his love.' And his own words proved
more prophetic than he intended :

Cynthia prima fvit, Cynthia finis erit.

And here too the records, the meagre records
which we have been endeavouring pain-

Txita* lit*

fully to spell, break off: and a chasm opens

1 This is probably what the charge of poison means.

9 ii. 1. 4 ingenium nobis ipsa puella facit; compare i. 7. 7.

xxviii INTRODUCTION.

in the life of the poet which we cannot see beyond.
We know that he was alive at the end of B.c. 16,
because v. 6 was written to commemorate the celebra-
tion of the ludi quinquennales, and in v. 11. 66 allusion
is made to the consulship of P. Cornelius Scipio in 1 6.
Besides this we have two passages of the younger
Pliny which throw a solitary and uncertain gleam
upon this period. Epist. 6. 15 Passennus Paullus,
splendidus eques Romanus et in primis Passcnnus
eruditus, scribit elegos. gentilicium hoc illi: *««"•«.
est enim municeps Properti atque etiam inter maiores
suos Propertium numerat. is cum recitaret ita coepit
dicere 'Prisce iubes.' ad hoc Iauolenus Priscus (aderat
enim ut Paullo amicissimus) 'ego uero non iubeo.'
cogita qui risus hominum, qui ioci. <fec. 9. 22 Magna
me sollicitudine adfecit Passenni Paulli ualitudo et
quidem plurirais iustissimisuue de causis. uir est
optimus honestissimus nostri amantissimus ; praeterea
in litteris ueteres aemulatur exprimit reddit ; Proper-
tium in primis a quo genus ducti, uera soboles eoque
simillima illi in quo ille praecipuus. si elegos eius in
manum sumpseris, leges opus tersum molle iucundum
et plane in Propertii domo scriptum. The natural,
though I admit not the only possible, explanation of
these passages is that Passennus PauUus or G. Passen-
nusSergius PauUus Properlius Blaesus (as we learn from
an inscription found at Assisi 1 was his full name) was
a lineal descendant of Propertius : and that he lived in
the family mansion at Assisi. From this it would
follow that Propertius married and had at least one

1 The inscription runs c. pabsenno (Hertzb. has passennio,
while the undoubtedly corrupt reading of the name in Pliny's
mss. is Passienus) c. f. serg paullo 'ropebtio blaeso. Hertz-
berg explains his numerous names by assuming adoption,
1 Propertius Blaesus qui a C. Paullo adoptatm in gentem Passen-
mam et Sergiam tribum venit.' It may be added that the
passages in Pliny refer to events which happened between a.d.
105 and 110.

INTRODUCTION. xxix

son. There is certainly nothing that conflicts with
this supposition. Indeed there is one consideration
which is distinctly in favour of it. As already said,
the poet was alive in B.c. 16. Now two years before
in 18 Augustus carried the Leges Ivliois whose object
was the same as the proposals referred to above (p. xxi.).
Now we have already seen that even in B.C. 27, when
Propertius was in the heyday of his youth and in the
first blush of the Cynthia attachment, he would not
have resisted the imperial will; and in the poem
which refers to the enactment of that year he uses
expressions which shew that he regarded the separa-
tion as a real danger. How much less likely was he
to resist it nine years later when he was now past
thirty, when his ancient love was in her grave, and
age and memory and authority were at one in urging
him to a soberer walk of life % There is nothing more
to telL Perhaps, as a reward for his poetical services
and his submission in a matter which the emperor had
near at heart, Augustus restored him to his paternal
estates; and he returned to the hills and streams of
Umbria to see his children grow up around him and
to sink from placid day to day into an old age which
was 'not inglorious/ though 'it lacked the lyre 1 .' It
is not impossible. In modern times, even within our
own experience, we have seen the flame of poetry die
out with youth : we have seen poets who have outlived
their inspiration and become a wonder to themselves.
Perhaps after all — and possibly this may be con-
sidered as the more likely supposition * — the poet's own
forebodings were realized ; and though he did not go
before his Cynthia, he may have followed her at no
long distance to the grave, so that it was death,
not desuetude, that stilled the TJmbrian Muse. But
this is fruitless speculation. Beyond the year 16 there

1 Hor. Od. 1. 31. 19. * Compare p. xxxvi. and nm

INTRODUCTION.

is not a shred for conjecture to lay hold of, and the
obscurity which wraps so much of the poetry of Pro-
pertiu8 sinks, like a pall, upon his life.

Bat we mast not let the absorbing interest of the
Cynthia drama blind us to the fact that nefrialdg
there was another side to the poet's life at and patron* of
Rome. It would have been a marvel if J******
his social inclinations and literary tastes had not
drawn him to one or other of the two circles of writers
which clustered round the patronage of Maecenas and
Messala, and if the success of his first book had not
secured him admission. Of the two influences that
of Maacmas proved the more potent, and to that states-
man are addressed the first elegy of the second book
and the ninth of the fourth. His relations to his
patron were doubtless far less intimate than those of
Horace; but there is not the slightest authority for
the suspicion which Dean Merivale has promulgated
that "the assiduity of Fropertius was perhaps too offi-
cious, and it was necessary to repel without offending
him. Like all his unfortunate class (sic), he could
not understand how, with his undoubted talents and
acknowledged industry, his pursuit of the great was
through life a failure, while that of his rivals, who
seemed so much less eager in it, was crowned with
such distinguished rewards 1 ." The poems referred to
shew the very opposite. It is Maecenas who urges
him to celebrate the events of the day, and the poet
who is reluctant, shielding himself under the plea of
the inferiority of his own genius and the example of
his patron. And the terms in which he addresses
Maecenas* are suggestive of friendly and sympathetic
relations, not of importunate officiousness on the one
side judiciously avoided on the other*. Chief among

1 Bom. Hist. tv. p. 599.

» n. 1. 71—78, nr. 8 (9). 57—60.

9 He stood at a much greater distance from Augustus, as

INTRODUCTION. xxxi

his literary friends were Virgil, for whose genius he
expresses the warmest admiration in the well-known
passage in. 32 (26). 61 sqq., his senior, and Ovid, his
junior. The latter tells us he was united to Proper-
tius by the right of friendship, and that he frequently
heard him recite his love poems, opportunities which
he certainly turned to good account. Other members
of Propertius' circle of friends were Pontims, an epic
poet (i. 7 ; 9), also mentioned by Ovid (Tr. 4. 10. 47),
Bossies (i. 4), possibly the same as the iambic poet
mentioned by Ovid (1. a), and Lynceus, possibly a
pseudonym, a tragic writer (in. 32). Besides these
we hear of Gallus, not improbably a relation of the
poet's on the mother's side (i. 5 ; 10 ; 13 ; 20) [distinct
from the Gallus of I. 21, for whom see above], Tvllus,
generally supposed to be a nephew of L. Volcatius
Tullus, who was consul in rc. 33 (i. 6 ; 14, iv. 22),
Foetus (iv. 6 (7)), Panthus (in. 14 (13)), Postumus,
the husband of an Aelia GaUa (iv. 11 (12)), and Demo-
phoon (in. 15 (14)). That this is a complete list of
the friends of Propertius is not for an instant to be
supposed. It only embraces those whose names have
been associated with the surviving portion of his
poems. We may well conjecture that Ovid is not the
only instance of a distinguished contemporary enjoying
his friendship without obtaining a place in his writings.

the only poem addressed to him shews ; m. 1, especially w. 21 —
24. His flattery of the emperor is no doubt gross to oar taste:
but not a whit more so than that of his contemporaries. We
cannot in fairness censure him for calling a man dew to whom
the Senate itself had decreed divine honours (Dion 51. 20) and
of whom Horace could write Od. 3. 5 Caelo tonantem credi-
dimus Iouem regnare: praesens diuus habebitur Augustus
adiectis Britannia impeno grauibusque Persia, and 3. 3. 11
(Pollux et uagus Hercules) quos inter Augustus recumbene
purpureo bibit ore nectar. This latter passage almost makes
us suspect that there is some truth in the story of the cena
twSeicdOcos Suet. Aug. 70. unless indeed it gave rise to the story
itself.

xxxii INTRODUCTION.

There are however two noteworthy omissions on
which a word must be said. We hear no- jy^™^ and
thing of Tibullus, his elegiac rival ; nor of TibuUw.
Horace, his predecessor in the favour of Maecenas. A nd
Tibullus and Horace are equally silent about Proper-
tius. The first omission, supposing it not to be acci-
dental, may be explained without having recourse to
the icepa/tcvs K€pafi€i hypothesis. Tibullus belonged
to Messala's circle, and thus the two poets might
never be thrown in each other's way. I do not believe
that Propertius' assertions of originality are covertly
aimed at Tibullus. The Propertian use and treatment
of the elegy is sufficiently different from the Tibulline
to warrant Propertius in claiming originality without
interfering with existing claims. With Horace the
case is different. Propertius could hardly Harace afU j
fail to meet him at Maecenas' house and Propertius.
elsewhere and to meet him frequently ; and it has
even been conjectured that the inquisitive fellow of
Sat. 1. 9 is no other than our author . Though chrono-
logy seems to forbid the supposition 8 , there is good
reason for believing that the relations of Horace and
Propertius were not particularly friendly. There is a
passage in the second book of the Epistles 2. 87 sqq.,
which can hardly be anything but a direct attack upon
Propertius.

Frater erat Bomae consulti rhetor at alter
alterius sermone meros audiret honores.
Gracchus ut hie illi foret, huic ut Mucius ille.
qui minus argutos uexat furor ille poetas? 90

1 By Volpi in his edition of Propertius, Prolegomena,' pp.
XV. sqq. Those who "wish to see Volpi's ingenious reasoning
may find a r&mmt of it in Professor A. Palmer's edition of
the Satires in the Introduction to the poem in question (Mac-
millan, 1883). Prof. Palmer agrees in rejecting the idea.

3 The garrulus had lost his mother and relations (v. 27).
Now Propertius' mother died, at the very earliest, in 28, which
is a later date than is usually assigned to the publication of the
Satires.

INTRODUCTION. xxxiii

carmina compono, hie elegos, mirabile uisu

caelatumque nouem Musis opus, aspice primum .

quanto cum fastu, quanto molimine circum-

Epectemus uacuam Romanis uatibus aedem.

mox etiam, si forte nacas, sequere et procul audi 95

quid ferat et quare sibi nectat uterque coronam.

caedimur et totidem plagis consumimus hostem,

lento Samnites ad limina prima duello.

discedo Alcaeus puncto illius; ille meo quis?

quis nisi Callimachus? si plus adposcere uisus, 100

fit Mimnermus et optiuo cognomine crescit.

This has been already appreciated by Orelli in his
note and by others ; but as the full strength of the
evidence has not yet been pointed out, I shall estimate
it here. Horace is aiming at an elegiac and erotic poet
who imitated Callimachus. The incisive expression
in vv. 99, 100 will not allow us to suppose that
Horace intends the criticism to be quite general. Who
can this be but Propertius whose favourite boast is
that he is the Roman Callimachus? v. 1. 63, 64 ut
nostris tumefacta superbiat Ymbria libris, Ymbria
Romani patria Callimachi 1 . In other respects too
the identification is plausible. The charge of belong-
ing to a clique of mutual admirers migh&with a show
of fairness be brought against one who, amongst other
instances of exaggeration, compared his friend Ponti-
cus to Homer (i. 7. 3, 4). The expression caelatum
nouem Musis opus is not more extravagant than many
in Propertius : iv. 4 (5). 19 me iuuat in prima
coluisse Helicona iuuenta, Musarumque choris im-.
plicuisse manus ; iv. 2, 13, 14 et Musae comites e^
carmina cara legenti et defessa choris Calliopea meis ;
iv. 1. 17 opus hoc de monte sororum and so on.
"Verse 96 is probably a hit at Propertius' frequent use
of this metaphor with reference to himself, iv. 1. 19,
20 mollia, Pegasides, uestro date serta poetae; non

1 Propertius had a high opinion of Mimnermus also as an
erotic poet. See i. 9. 11.

xxxiv INTRODUCTION'.

faciet capiti dura corona meo; v. 10. 4 non iuuat e
facili lecta corona iugo. Again, fastu and molimine
just hit the impression which the style and perhaps
the bearing of Propertius (see below, p. xxxv.) would
make on an unfavourable observer. Verse 94 is a
clear allusion to Propertius' exultation at the recep-
tion of his poems into the Palatine library ; see iv. i.
38 and note. Even Romania has its sting; i. 7. 22
tunc ego Romania praeferar ingmiia and Romo/ni GcuM-
machiy 1. c. 1 Lastly I trust that it is not fanciful to
see in the two words adposcere and optiuiw, which
are each only found in one other passage in Latin,
a travesty of Propertius* love of archaisms ; for which
see below. We need not go far to seek a cause or a
justification for this dislike. It was the result of an
antipathy for which neither party was to blame. It
would have been surprising if they had been friends.
Not to speak of the difference of age, the impetuosity
of Propertius would not be to the taste of the placid
and somewhat lethargic Horace. Still more repellent
would be his frequent self-assertion, while the pomp
and obscurity x>f his style would offend against tho
Horatian caifons of taste 9 .

In the company of these and other friends we can-
not doubt that Propertius passed some of
the most agreeable hours of his life. Some- L ^ eat Rome -
times in his own house on the Esquiline 8 in what
now, thanks to Maecenas, was one of the pleasantest
parts of Home 4 , but more frequently in those of his
richer friends, he would gratify his social inclinations

1 On Propertius' fondness for the word see in. 1. 4 n.

9 Ovid seems to have taken his friend's side in the quarrel
and criticizes Horace in turn. Compare Ov. A. A. 2. 271 sqq»
with Hor. S. 2. 5. 10 sqq. and Teuffel's remarks I. p. 389 and
n. 2. He says it may be that Horace occasionally shewed his-
mental and social superiority in a way offensive to young men.

8 iv. 23. 24 ; cf. v. 8. 1.

4 Hor. Sat. 1. 8. 14 with the notes.

INTRODUCTION. mv

at entertainments like those described in Y. 6. 69 and
following lines, which united the refined pleasures of
the table. to the higher charms of congenial society
njid cultivated discourse. On such occasions he would
not be backward in paying his homage to that God
whose worship was then regarded in Borne as at once
a duty to society and the infallible source of the poet's
highest inspiration 1 . He does not seem to have often
quitted Rome. We read of his going to Tibur at a
sudden message from his mistress (iv. 15 (16)) and
of his following her to the country (ill. 12(10)}. We
also hear of his leaving her to take a sea-voyage, pro-
bably to Greece, in which he suffered shipwreck*;
and later we find him intending to start on a visit to
Athens in the hope that absence may cure his love
(it. 21).

We have very little information about Fropertius'
person and dress. . He was pale and thin,
as he tells us himself, and probably un- Sj^'j op " a .^f->
usually so, as he seems to have been fre- y''v/""'l t'

quently rallied on it by bia friends 8 . He paid '«o^ %*■ .
siderable attention to his personal appearance, jiu,d-<;ul- '
tivated a slow and impressive gait*. His health ^ufltna, ■

1 iv. 4. (5). 21 me iuaat et multo mentem nincire Lyano tit .J^-ji*^
caput in uerna semper habere roan, ib. 9 (10). 21 noz inter
pocuta cmrat, t. 6. 75 ingeniuni positis imtet Musa poetis ;
Bacche, soles Phoebo fertUis esse tun. This is the origin of
some of the most charming of his poems ; i. 3, m. 27 (21), it.
16 (17).

* This seems to be the meaning of i. 17 compared with the
reference to it in iv. 24 haec ego, non ferro, non igne coactus, et
ipsa naufragui Aegaea uerba fatebar aqua.

■ i. 1. 22 et tacit* ilia meo palleat ore magis, m. 15 (13). 21
Sed tibi si exiles uideor tenuutus in arias, falleris ; I. 5. 21 nee
jam pailortm Miens mirabere nostrum aut cur sim lata corpere
nulla/ ego.

* ii. 4. 15 (5) negjriquam perfusa meis ungventa oapillia,
ibat et expciisu planla morala gradu.

xxxvi INTRODUCTION.

to have been delicate. We hear of one serious illness 1 :
and his habitual melancholy and frequent allusions to
death and burial point in the same direction*.

We have no information about the personal
appearance and habits of Propertius ex- „. . ^

i. T. a. i_« •>• i i ii Hu character.

cept what his writings supply : and these Nature of the
too are our only guide towards the de- evtdmce -
lineation of his character.

It has often been declared that a writer's character
may be collected from his works. But it has not been
always observed how careful such a reconstruction
must be. The delimitation between character and
circumstances, the distinction between intellectual and
moral characteristics, which are often widely sundered,
the separation of the effects of education, to use the
word in its widest sense, into those which indicate
a profound modification of the writer's nature and
those which ncefaqons deparler, the superficial gloss of
his culture or his age— these and other problems await
those who would elicit from the thoughts and style of
an author" a confession of himself. In this hazardous
and speculative region I only propose in the present
instance to state what may be claimed as fairly estab-
lished, reserving the nicer and more contestable points
for a minuter critical examination.

Propertius' nature was soft rather than strong.
This was inevitable from the elements which composed
it. An almost morbid self-consciousness, a continual
longing for the sympathy and appreciation of others,
an habitual melancholy, at times breaking into quern-
lousness, at times sinking in a gloomy foreboding; a
feeble will, scant physical courage, and a deficiency of
self-command and restraint, these qualities and tenden-
cies formed the weakest of foundations and one which

1 This is probably the danger mentioned in i. 15.
9 Allusions to death i. 19, it. 1. 71 sqq. m. 5. 1 sqq. rr. 21,
33 sqq. and more exx. in Teuffel i. § 241. L See also below.

INTRODUCTION. <xxxvii

the first flood of passion must inevitably sweep away.
It was Cynthia's form that opened the flood-gates; and
the; sudden irresistible deluge carried all before it,
maxims of prudence, conventional restraints, and the
weak rebellion of the will. The havoc which this at-
tachment undoubtedly produced was certainly not
repaired by his life at Borne. A life which consisted
to a very large extent of convivial pleasure and social
distractions and which was not steadied either by fixed
aims or regular employment, still further weakened
and disintegrated .his character. The very ease and
completeness of Cynthia's victory was a presage thajb
it could not last. A heart so light and impression-
able invited conquest of itself. We should rather
wonder that, with so much in himself to beget fickle-
ness and so much in Cynthia to justify it, the passion
lasted so long, than that his professions of fides 1
were not always exactly interpreted, and that his
admiration of Cynthia dissolved into a universal ten-
derness*. A strict moralist must condemn Propertius'
attachment, and his unfaithfulness to it is still less to
be excused. But when we have allowed for the influ-
ence of his age, from whose grosser taints he was
entirely free, the temptations and provocations of his
position and the effects of his natural infirmity, the
remainder is too poor for our censure; it rather merits
our compassion.

Such then in broad outline was the character of
the principal elegiac poet of Borne : weak but amiable,
with a capacity for tenderness and a gentleness and
placability of temper as its chief merits and irresolu-
tion and inconstancy as its most glaring faults. A
commonplace character certainly; and one which we
are startled to discover united with a genius so strange

1 To a fine ear, perhaps, Propertius does * protest too much.'
3 in. 15 (13). 13 quaeris, Demophoon, cur sim tarn mollis in
omnes.

P. P. d

xxxviii INTROL VCTION.

and solitary as to be, I will not say unsurpassed or
unequalled, but perhaps never paralleled at all.

Even the casual reader cannot help being struck
by the great prominence of personal feeling
in Propertius. This is of course to be ex- f^™* feel ~
pected in amatory writing in which thou
and I compose the world. But it is more marked
in his case than in that of others. Personal pro-
nouns are used both where they are redundant and
unusual. Thus iv. 15 (16). 7 at si distulero haec
ivostro mandata timore, in. 30 (24). 23 nuper enim de
te nostras me laedit ad aures rumor, iv. 8 (9). 10
^xactis Calamis se mihi iactat equis and note, I. 13.
14 haec ego non rumore malo, non augure doctus,
uidi ego: me, quaeso, teste negare potes? So in a
less degree with tu, tuus, <fcc. i. 7. 25 tu caue nostra
tuo contemnas carmina fastu, 15. 25 desine iam reuo-
care tuis periuria uerbis. [While on this subject, I
may mention some numerical results which may be
interesting, as tending in some degree to bear out the
more specific evidence above. By the aid of Pas-
serat's index which errs more on the side of omission
than redundance, I found that the first person sin-
gular (including nos and noster where used in that
sense) occurred 656 and the second singular 579 times
in 4046 lines, being nearly at the rate of 1 to 6
and 1 to 7 lines respectively. I then counted the
occurrences of the same two pronouns in Ovid Amores
I., Fasti I., and Tristia I., which may be fairly said
to represent, when taken together, the proportion of
subjects in Propertius. In these three books ego, nos,
mens, <fcc. in the singular sense occurred 337 times in
2328 lines, or at the rate of about 1 to 7 lines and
tu> <fcc. 222 times, or at the rate of 2 to 21 lines. The
two together would occur in Propertius on the average
a little over 30 times, and in Ovid about 24 times
in every hundred lines. I believe that a more minute

INTRODUCTION. xxxix

examination would bear out this result. In the mean
time valeat quantum.] We may draw the same con-
clusion from his frequent use of tarn, tantus, tot
and totiens. All of these words involve a reference
which is sometimes to the knowledge or feelings of
others and sometimes to his own experience ; and thus
the thought assumes the character of a reminiscence
or an appeal. Some of the more Btriking instances
are in. 4. 3 tarn graciles uetuit contemnere Musas,
iv. 14 (15). 11 Dirce tarn uero crimine saeua, iv.
10 (11). 20 tarn dura traheret mollia pensa manu,
and i. 16. 18, 39, iv. 3. 5 notes, tanti, 'worth that
price/ is common, e. g. iv. 19 (20). 4, v. 11. 92; tantus
i. 5. 26, <fec. tot and totiens are also frequent, almost
in the sense of phirimus and saepe iv. 11 (12). 32
totque hiemis noctes totque natasse dies, cf. v. 24 ; iv.
7 (8). 2 uocis tot maledicta tuae; m. 26. 3 (20. 49)
tot milia formosarum, cf. iv. 17 (18). 16, 23. 2, <fcc. : in.
17 (14). 5 quaerit totiens, v. 8. 27 cum fieret nostro
totiens iniuria lecto, i. 5. 21 n. &c. This usage might
perhaps be called a relative 'intensive,' tam gracilis,
<fec. * so slight/ as you or I know well, being put for
' very slight.' The same is shewn by the frequency
of phrases like aspice (cerne) 9 times, accipe (disce)
5 times, crede mihi 7 times; quaeris (quaeritis) 8 times,
quaeso 7 times. It is not surprising that such a mind
should have keenly felt what is due to himself or others,
and that he should have been continually appealing
to his or their deserts (l 8. 17 n., 18. 15, n. 5, 3, hi.
7 (6). 47, iv. 6 (7). 34, <kc.) or that it should have re-
coiled from the strange and the unknown. This
repulsion is manifest in the use of ignctus, I. 17. 17
ignotis circumdata litora siluis, I. 5. 5, in. 32 (26). 8
(compare quern non nouerit in. 16. 6 (13. 48) : and
nosse, <fcc. in the sense of ' feel ' I. 9. 20, &c.) ; extemus
in. 12 (10). 16 ab externo uiro; insolitus I. 8. 8, 3.
29,. with which mav be contrasted I. 12. 5 nee mihi

d2

xl INTRODVCTION.

conmetos amplexu nutrit amores, and sometimes in
that of nouua I. 8. 30 n. muto, when metaphorical,
is nearly always used in a bad sense. A change
for Propertius is a change for the worse ; I. 18. 9, in.
19 (16). 17, v. 11. 45. A melancholy and almost
lachrymose disposition is shewn, on the ^^
one hand, by the frequency with which *

words like querelas, &c.,flere, lacrima, <fcc. tristis and
the like occur and, on the other, by the frequency
of allusions to death and the grave, which has already
been mentioned. This will be at ouce obvious by
reference to any Propertian index, or to the articles
on bustum, cinis, fauiUa, fatum, farms, Mams, mors,
pului8 f 088a, rogus, sepulcrum in B. Kuttner's tract
de Propertii elocutions. A temper like this could not
fail to increase the wretchedness of an attachment
which had in itself many seeds of unhappiness. It
alloyed its pleasures and aggravated its pains, and
threw over all the black inevitable shadow of death l .

Weakness of will (besides some other character-
istics already pointed out, such as sensi- weaknm qf
tiveness and dislike of the unknown) is wUL
apparent from the large number of verbal uS*?^ ,poUn ~
periphrases which he employs and the Peri P hra9 ^
way in which he uses them. Speaking generally, he
prefers the potential to the actual. The capacity, the
desire, the purpose, the preparation, the beginning,

1 This use of interjections like heu, a is remarkable. It
shews a curious and almost irrational sympathy. If Propertius
is contemplating a gloomy picture, he cannot help a sigh
escaping him, no matter whether appropriate to his own posi-
tion or not. Thus a heu breaks out in n.5.8 where he is
threatening Cynthia with punishment heu sero flebis amata
din; so a in a precisely similar way rr. 25. 14. Cf. x. 1. 38 and
note. This undercurrent of melancholy is apt to come to the
surface whenever his feelings are disturbed. Thus in in. 27
(21) talis uisa mini somno dunissa reoenti, heu quantum per se
Candida forma ualet and r?. 14 (15). 6. Compare v. a 48.

INTRODUCTION. xli

the effort in an action impress him more than the
attained and completed result : and thus, where other
writers would use a simple verb, we find in Propertius
an infinitival expression. In this and similar questions
it is well to bear in mind that the question of degree
is of the highest importance. For while, on the one
hand, it is true that in many passages a writer may
have chosen a word for the same reasons that might
have guided other writers to its choice and that con-
sequently its employment is a recognition of the
requirements of the passage and not a trace of the
author's personality, so on the other if he habitu-
ally throws his thought into such a form that only
a particular word or phrase is appropriate, it cannot
be pleaded that he has yielded to a necessity, when
that necessity has been created by himself 1 .

The following tables will put the facts more clearly.
Propertius uses the following verbal periphrases.

Verbs denoting capacity.

possum, very common, 74 times (Kuttnor) : often
a mere expletive, e.g. v. 10. 24 uincere cum Veios
posse laboris erat.

queo, i. 18. 4, n. 7. 4. nequeo, twice.

ualeo, i. 14. 7 non tamen ista meo ualeant con-
tendere amori, where observe that the subj. . makes
the expression still more vague.

Denoting desire or purpose.

nolo, with inf. 31 times (subjunctive uelim, udlem
17 times): often with no particular force, e.g. in.
1. 9.

cupio, with inf. 9 times: often otiose; as in I.
9. 19, iv. 8 (9). 2. \

*. In the case of Propertius the strength of the following
argument is not weakened by a conscious choice of expression,
still less by a desire to mystify. •_ . . . • .

xlii ' INTRODUCTION.

Zibet, 4 times; can frequently be dispensed with,
eg. iy. 4(5). 25.

lUinam, atque utinam, o utinam, 14 times.
cogito, in. 22. 9 (18. 29).
meditor, II. 2. 1.
quaero, in. 6 (5). 13.

Denoting preparation, beginning and effort.

paro, 1. 15. 8, 20. 43, m. 27 (22). 19.

incipio, 11 times; always with inf. except in in.
13 (11). 36 when a verbal noun replaces it. It can
often be spared, e.g. v. 1. 120, &c. According to
Kuttner it is very rare in the elegiac poets.

coepi, twice, v. 4. 74, 11. 78. It is wanted in
neither place.

conor 9 4 times (3 times in theirs* person).

tempto, in. 32 (26). 73 where it has its proper force.

Denoting constraint or its absence.

cogo, 19 times (cogor 9 times). Especially note-
worthy is its use within the sphere of love, I. 13. 32
ilia suis uerbis cogat amare Iouem, II. 4. 9, v. 5. 8,
and above all i. 4. 2 quid me tarn multas laudando,
Basse, puellas mutatum domina cogis abire mea?

fero, iv. 6 (7). 47 non tulit... a,udire. It occurs
8 times in sense of ' holding out against.'

potior, with occ. and inf. 10 times.

perpetior, i. 22. 7.

licet, 18 times altogether with subj. and inf.

sino, with occ. and inf. 11 times (once with ace.);
sometimes curiously used, e g. in. 15 (13). 38.

ueto, with ace. and inf. 8 times, iv. 13 (14). 21 is
very curious, lex Spartana uetat discedere amantes =
' allows them not to be separated.'

prohibeo, in. 7 (6). 21.

iubeo, occurs 5 times (out of 8) where another
verb meaning 'causing' or the like would be more

INTRODUCTION. xliii

appropriate; thus i. 3. 40 noctes me miseram quales
semper habere tubes.

Denoting fear or its absence.

metuit, timet, with inf.* i. 14. 19, 20 ilia neque
Arabium metuit transcendere limen nee timet ostrino,
Tulle, subire toro.

uereor, I. 14. 23 non ulla uerebor regna...despicere;
non ego nunc uereor occurs 3 times.

ausus, ausim, 8 times.

Denoting habit.

8oleo ) 17 times.

consueui, I. 17. 25 omnia consueui timidus per-
ferre superbae iussa neque arguto facta dolore queri
(a perfect revelation of character).

sueuit, v. 10. 17.

Denoting acquaintance or knowledge and its oppo-
site.

8cio, i. 2. 12.

noui, 3 times, e.g. in. 24 (20). 13 semper, formosae,
non nostis parcere uerbis.

disco, 9 times, e.g. I. 10. 13 non solum uestros
didici reticere dolores.

doctus, v. 6. 24.

Periphrases by means of verbs of saying or thinking.

dico with no especial force. Pass, l 9. 8, 19. 1 1
semper tua dicar imago, n. 8. 6 nee mea dicetur quae
modo dicta meast. Act. — Phrases like I. 11. 26 dicam
* Cynthia causa fuit ' are not uncommon.

fero, iv. 16 (17). 20 uirtutisque tuae, Bacche,
poeta ferar, cf. iv. 8 (9). 60 and m. 9 (8). 11.

habeo, pass. n. 4. 24 quicquid habetur amor and in
iv. 12 (13). 62.

puto and reor also occur; but generally add some-
thing to the sense.

xliv INTRODUCTION.

Besides the above we find other periphrases where
simple verbs might have been expected, e.g. i. 11.
13 uacet alterius blandos audire snsurros and I. 14. 13
turn mihi cessuros spondent mea gaudia reges ( = reges,
quae mea gaudia sunt, mihi cedent).

Jn estimating the value of the foregoing evidence
we must first bear in mind that these in-
finitive forms are very convenient for ^uno vfiF
verse, especially for elegiac verse, and so may
be expected to occur with some frequency. The best
way of ascertaining what deduction is to be made for
this is to examine the frequency with which such peri-
phrases* occur in other elegiac poets. As before, I will
take Ovid for the testV

Ovid's elegiac poems contain about 6 times as many
verses as Propertius, Le. about 24,000 lines. In these
24,000 lines I find the following verbs denoting desire,
&c, and preparation, <fec, occurring with the inf. the
following number of times: nolo 31, cupio 15, opto-5%
libet 6, desidero 1*, posco I s , [utinam over 8. times],
paro 15, incipio 10, coepi 5, ordior 4 (3 with loqui),
experior 4, pergo 2, molior I s *, laboro 5, teinpto 15,
conor 3. * This gives* the* following result : Propertius
64, Ovid 123. If the same proportion were observed,
Ovid would shew 384. To this must be added the
fact that the Ovidian examples have not been weeded
like the Propertian, and that, if we counted up
the instances where the phrase is really otiose, the

1 I have* used Le Maire's Index to obtain these results, and
I have selected the most characteristic claas that I could, that
containing. possum not being available through deficiencies in
the index. It is noteworthy that several of the verbs occur
more frequently in the Metamorphoses than in the Elegiac
poems', shewing that too much weight must not be assigned tcr
the metrical convenience of the forms. Their prevalence there
is probably due to the poem- being a history of inchoate and
interrupted lives.

* Not in Propertius with inf.

JNTROD UCTIOK ' xlv

•Propeftian preponderance would be still niore evident.
I do not claim undue importance for these figures,
which are from the nature of the case imperfect, and,
I doubt not, in some particulars contestable. I only
appeal to them to confirm the impressions which every
unprejudiced reader must gather from reading the
poems himself.

We have thus seen that they occur far less fre-
quently in Ovid than in Properties; and unprejudiced
and experienced readers will probably admit without
further demonstration, that they cannot- be regarded
as wholly or chiefly the effect of metrical necessity l .
Another explanation claims to be considered. May
paot Propertius have been snared, as it were, by certain
forms of rhythm and expression) Or, to put it in
another way, may . not particular phrases and turns
of metre have reproduced themselves mechanically in
his poems 1 That .this is possible, will- be allowed by
all who have watched with attention either their own
habits of speech and writing or those of others. The
persistence of these forms is one of the most interest-
ing phenomena of language. Any one who has ob-
served how some fashionable trick of verbiage or cant-
phrase of the hour is taken up and introduced on every
possible occasion, not only in the streets but even in
educated society, will readily recognize the irregular
actions of a principle which is the parent of style in
the individual and idiom in a nation. That such per-
sistence of phrases is very marked in Propertius, I
should be the last to deny ; and that it is to be explain-
ed as due to weakness of will, I should not venture to
assert. It may at least be probably supposed to be

• * Another view is possible, that they are the remains of a
certain redundance of expression which we find in early Latin ;
in which case they will be related to the other archaisms of
Propertius. I do not deny that some of them are. Bat this
will only account for a portion. Compare p. cxliii.

xlvi INTRODUCTION.

one of his intellectual characteristics, on which more
anon. But the question still recurs; 'why was it these
particular phrases that manifested the persistence?'
To this the natural answer seems to be; because the
ideas that they embodied and the tendencies which
they conveyed were those most characteristic of the
writer. To take an example which might perhaps be
thought to make against the argument. It is not the
truly brave man who is continually saying 'Who's
afraid?' It is rather he who can ask
with the young Nelson, 'Fear! I never ac qrcou,agCm
saw fear! What is it?' So the recurrence of non ego
nunc uereor and similar phrases in Propertius, even in
default of positive evidence, would have taught us
that he was scantly endowed with physical courage.
But that evidence is forthcoming. He naively says
he will chase the timorous hare and bird and leave the
hazardous boar alone (I.e. on n. 7. 14). He fears a
night journey from Rome to Tibur as though it were
an expedition to the Gallinaria Pinvs, iv. 15 (16).
He freely owns that ' from his blood will no soldier
spring,' II. 7. 14 and note.

Subject to the cautions which we have pointed out,
the argument will stand, and could, if we had more
space at our disposal, be still further supported. For
example, it might be plausibly contended that the fre-
quent use of the pluperfect aud other completed tenses
on the one hand and the periphrastic future on the
other (vide infr.) is similarly to be explained. The
author declines the effort of contemplating the reality
face to face and relegates it, so far as he may, into the
buried past or the formless future. Again, the want
of connexion in his thought, the frequent change of
subject, his eccentric use of particles and other peculi-
arities which will be discussed below, all point to a
weak and unbalanced mind

INTRODUCTION. xlvii

We may easily understand how such a mind was
influenced by the foreign superstitions
which had even then begun to infect and **"**»•
supplant the religion of Borne. Evidently he had
dabbled in ' Babylonian calculations.' His allusions
to divining and astrology are frequent. And, although
he sometimes rises above himself and ventures to jest
upon these formidable subjects (as in v. 1), his lan-
guage more frequently betrays a genuine apprehension
of their power. See in. 23 (19), and n. 4. 15 (25)
nam cui non ego sum fallaci praemia uati ? quae mea
non decies somnia uersat anus ? v. 5. 9 sqq., <fcc.

CHAPTER II.

WORKS AND STYLE. -

§ i\ Arrangement and subjects of his poems.

The poems which have borne down to us under the
name of Propertius consist of 4046 lines
of elegiac verse; and of these all but a ^aS?" 1 * into
very trifling proportion are genuine.
They are divided in all the mss. which mark such
divisions into fowr books, I. containing 708, il 1402,
in. 988 and iv. 948 lines. The unusual length of
Book ii. has thrown suspicion on the arrangement,
and Lachmann and others have divided it into two,
ii. 1—9 (354 lines), and n. 10— end (1048 lines). In
support of this view it is argued that the poems, as we
have them, are incomplete. The evidence Auumed <n .
of this is (a) external and (b) internal, completeness «/•
(a) The grammarian Fvlgentius, c. 22, as- °
cribes the following line to Propertius, diuidias mentis
conficit omnis amor. His authority is however con-
siderably weakened by his also attributing to him a
line from an old Latin comedy, catillata geris uadi-
monia publicum prostibulum : and the line in question
has generally been given to Petronius. I may observe
that conficio does not occur in Propertius ; and if we
assign the line to him, we shall have to add diuidiae to
his numerous list of archaisms (p. xc). Servius on Virg.
EcL 5. 21 quotes testes sunt sidera nobis. This is al-

INTRODUCTION. xlix

most certainly a misquotation of H. 10. 41 sidera sunt
testes et matutina pruina...te nihil in uita nobis accep-
tius umquam. The same commentator on G. 1. 19
says that some attribute the invention of the plough
to Triptolemus and others, more correctly, to Osiris,
ut dicit Propertius uel Tibullus. Here the uel marks
a correction; and the reference is to Tibullus 1. 7. 29.
None of these passages prove anything. Lachmann
lays more stress on Ovid Tr. 2. 447 sqq. where Ovid
alleges in justification of his own Ars Amatoria the
practice of previous poets; and, after quoting largely
from Tibullus, says, multaque dat talis furti praecepta
docetque qua nuptae possint fallere ab arte uiros : nee
fuit hoc illi fraudi; legiturque Tibullus et placet et
iam te piincipe notus erat. inuenies eadem blandi
praecepta Properti; districtus minima nee tamen ille
notast. Lachmann asks ' where shall we find them?'
In answer to this, we must observe first that we are
not to expect to find too many. For, on the one hand,
we must remember that it was to Ovid's interest to
make the most of his authorities in amatory writing;
and on the other that it may be inferred from his
dwelling at so much greater length on Tibullus than
Propertius that the latter did not lend him so much
countenance as the former. In fact, the allusion to
him looks like one of those references which are not
intended to be verified. There are some passages in
Propertius which point in the same direction as the
lines in Ovid. Thus we have iv. 3. 49 ut per te
clausas sciat excantare puellas qui uolet austeros arte
ferire uiros; and c£ v. 20 quae legat expectans sola
puella uirum. The meaning of these and other pas-
sages is elucidated by i. 7. 13 me legat assidue post
haec neglectus amator et prosint illi cognita nostra
mala, which shews that Propertius' teaching was
rather by example than precept. We find praecepta
about love also in I. 1. 35 sqq., i. 9, l 10. 15 — 30, m.

1 INTRODUCTION.

20 (17). 21 «qq., and Y. 5. 21 sqq. where -the speaker if
Acanthi Compare also nr. 7 (8). 25, 26 where by a
provoking chance several lines are lost There are
other passages and pieces whose spirit might have been
in Ovid's mind at the time. Hence on the whole we
may pronounce that there is enough foundation for
the statement in the works as we have them at present,
but only ju»t enough.

I now pass on to (6). And first for the poems
themselves. I do not think that any
one who reads the poems carefully can Lacunae -
HUppose that they are in all cases complete. In
determining which are not, the very greatest care
is needed. We must remember, firstly, that the
ordinary rules of coherence do not apply to Pro-
pertius, and that a harsh transition of thought by
no means implies a lacuna. Secondly, in some cases
where that has been assumed, a transposition will set
everything right. After all these deductions there
still are loft several places where lacunae must be as-
Hiuned. Suoh are found in n. 6, n. 9, and elsewhere.
J hit L, M tiller and Baehrens have assumed far too
many, The loss of whole poems remains unproven.

The second argument is drawn from n. 13. 25, 26
(ill. 5. 9 where see note) sat mea sat niag-
naat si tree sint pompa libelli quos ego /^HTlu. 25
l'ereephonae maxima dona feram. It is
contended that tres libelli implies at least finislted
Itooks, and that consequently this distich formed ori-
ginally part of the third book; from which it would
follow that the end of the second book has been lost
This however is bv no means necessarv. The instrac-
turns which the poet is here giving for the conduct of
his funeral are not death-bed instructions. He is in
one of his despondent moods, and contemplating the
remote phantom of death (of. quam1ocKw*qne v. 1), as
though it were face to face. like Shakspere's Richard

INTRODUCTION*. li

XL, "he will 'talk of graves and worms and epitaphs.'
Why then should he not refer to unfinished books)
It seems to me that this adds more point to the poem.
'I must die,' he says; 'but I shall die content, if I am
not forgotten in my grave, if you, Cynthia, are faith-
ful to me, and three books preserve my name.' An-
other poem which has been pressed into MA

. , r . . ,, jit. a and from II. 10.

the service is the one addressed to Au-
gustus, ii. 10 (in. 1), which it is asseverated can only
have formed the exordium of a new book. This con-
tention may be met by a simple non sequitur. I have
pointed out in the commentary to this poem that, if it
is intended to introduce a fresh book, it is a most
inappropriate introduction, as only one poem out of
the remainder has anything to do with Augustus.
But not only are the arguments for the M

j i. ax. • i • v i. 'j. • Arguments a-

proposed change thus inconclusive, but it is gainst the
refuted by positive evidence. As already theory *
said, the MSS. are against it, and they must count for
something. Nonius, the grammarian, is against it (p.
169); for he quotes secundat in. (iv.) 21. 14 as oc-
curring in the third book. Lastly, if we can trust —
and I think we can — the phrase so far, Propertius
himself is against it: for in n. 24. 1 [in. 17 (15). 1],
quoting what others say of him, he says tu loqueris
cum sis iam noto fabula libro, et tua sit toto Cynthia
lecta foro. Lachmann's theory then appears to be
little more than an arbitrary surmise;' and the sooner
it goes and disencumbers our editions of the double . ,,//■

notation the better 1 . \l : \ "r ^..

V. >;,*■- w
1 This is the proper place to explain why in this edition 1/ -*..
have retained a notation which I have rejected above as un- ..,_ ! \
founded. "When the commentary was written and the text """" '^~~
printed, the division into five books was the accepted one. All
the latest editors had adopted it ; and I did not wish to intro-
duce innovating restorations into a volum r of selections ; the
more so as the editions which were then most generally used
in England (Mailer's and Paley's), and whose numbering I

lii INTRODUCTION

I how pass to consider the date of the various
poems. There are very few chronological „

I •.!/?. li ••• ° j Composition v

traces in the first book. i. vm. seems to the books,
have been written when the law forbid- tfafc L
ding celibacy was contemplated (see v. 21); and
Hertzberg (i. pp. 23, 24) has advanced arguments to
shew that I. vi. was not written before rc. 27.

The clues we get for the data of the composition of
the various poems in the second book (n. .
and iil) are, omitting allusions to events
earlier than b. c. 28,

ii. i. rc. 25 (after publication of first book).

vii. after b. c. 27.

x. (m. i.) B.C. 24 (see notes).

xxxi. (in. xxix.) end of B.C. 28.

xxxi v. (hi. xxxii.) not earlier than b. c. 28.
Thus all the poems in Book ii. whose date can be
settled fall within the period embraced between b. c.
28 and 24.

Book hi. (iv.), like Book i., contains very few allu-
sions that we can fix to a precise date.
Elegy xvii. (xviii) was written after the
death of Marcellus in 23. The allusions to the ex-
pedition against the Parthians to recover the standards
of Crassus iii. (iv.), iv. (v.) 48, xi. (xii.) 3, 4 probably
point to the same period. For, it is to be observed
that nowhere does Propertius hint that the standards
liave been recovered. His exultation is always pro-
spective. The last poem in the book, as already said,
must have been written six years after the beginning
of the Cynthia attachment. On the other hand, eL

proposed to use in citing Propertius, gave the new division.
Since then all is changed. The two last editors, Baehrens
and Palmer, have returned to the old order, and I can only
regret that my own book had advanced toot far to permit my
making the change. Baehrens, I may add, though printing
the ms. order, believes that n. 7—13 (or ii. 7— in. 5) belong to
Book in. (iv.). [See however Addendum to ^mpendix, p. 249.]

INTRODUCTION. liii

xx> goes back to its very beginning. Thus the
poems included in Book in. (iv.) fall between B.C.
28 and 23.

Book iv. (v.) presents many difficult problems.
There can be no doubt that it contains
some of the poet's latest work. Elegies
vi. and xi. were nob composed before B.C. 16; and,
as we have already seen, elegy viL cannot be much
earlier. But about the rest of the book we cannot
be at all certain. It is probable that el. viii. was
written before B.C. 23. At any rate it was com-
posed long before vii. We shall not be far wrong in
assigning iii to r c. 23 l . Elegy i. cannot at most be
later than the same year: and some scholars put
the first part of it much earlier. Elegy v. was written
after the beginning of the Cynthia attachment. The
date of the remaining poems is quite uncertain. Their
subjects, like that of the first part of el L, are anti-
quarian and historical Some critics consider them to
be the earliest poems and others amongst the latest :
and probably either the one or the other opinion is
right.

It is a natural question next when the poems were
published. The first book is the only one
whose publication can with certainty be Bo^f. Hon **
ascribed to Propertius himself; and we have
assigned it conjecturally to b. c. 25. The second and
still more the third book shew, as we have observed,
some appearance of being prepared for publication.
The publication of the second cannot have
been earlier than B.a 24 nor that of the fg? IL and
third than b.c. 23. And we can say
little else. They may have been published separately
or together, they may have been issued by Propertius
during his life or (less probably) by his executors

1 See verses 7—10, 18, 35, &c.
p. p. e

liv INTRODUCTION.

after his death. "We do not know; and, though the
expression in Martial already quoted, that Cynthia
"was Propcrtius , irmenile carmen, suggests that there
was some considerable interval between its publication
and theirs, it is not enough to ground an inference
upon.

About the fourth book there is, as we have seen,
much uncertainty. But about one thing
I am clear. It can never have been issued
by its author. I will not lay stress on the long period
over which the different pieces extend, a circumstance
which suggests a posthumous publication 1 , nor on the
miscellaneous nature of its contents.

But I must call attention to the juxtaposition of
vii. and viii. I cannot believe that these Juxta agiHon
poems are placed together by the delibe- of Elegit* v%i
rate act of Propertius, but by the careless-
ness of some redacteur who saw that the subject of
both was Cynthia, and who did nob trouble to enquire
further. Of vii. I have spoken at length, viii is the
best piece of genre painting in Propertius. It describes
how Cynthia drove with one of her lovers to see the
t famous cave and dragon at Lanuvium ; how Propertius
took advantage of her absence to have an entertain-
ment of his own with Phyllis and Teia, two acquain-
tances whom I have already mentioned ; how all went
wrong at their banquet, and portended that something
was about to happen ; how Cynthia suddenly burst in
upon them 'in a beautiful fury/ broke up the festivities,
scattered the guests and chastised Propertius and his
offending slave; lastly, how, her anger abated, she
consented to be appeased, and the lovers made terms
of peace. All this is told in a poem which in its

1 The Cornelia elegy would be naturally put at the end if it
bad to be copied from a monumental inscription ; see the intro-
duction to it

INTRODUCTION h

vivid colouring, its clearness and minuteness of detail
and its bright spontaneous humour is unique in Pro-
pertius, and has evidently come fresh from the poet's
imagination in one of its happiest moments \

If viii. had preceded vii., the contrast would
have been startling enough. To pass thus from this
warm-blooded lighthearted life in all its thoughtless
bustle and enjoyment to the chill and shadowy ghost*
land would, we may say without rashness, have been
too violent a change for the Greek and too bold a one
for the Roman. But to reverse the ordar and to bid
nature revolve upon her track is a ghastly imagination,
or rather Mephistophelian mockery, only possible to
ages which have learnt to finger the secret springs of
the horrible and produced the painting of a Wiertz and
the fiction of a Poe 8 .

1 It was written when the impression was still quite recent;
the day after the events, as hoc node v. 1 shews.

2 I ought to add something on a remarkable line of Ovid
K. A. 764 (a poem which as we see from vv. 155 seqq. was
written about a. d. 2), et tibi cuius opus Cynthia, solafuit. First,
the form of the expression leads us to suppose that Fropertius
was not alive in a.d. 2; for fuit is naturally an aorist. And
this is a supposition by no means inconsistent with the results
of the preceding investigation. Secondly, it seems to give us a
criterion as to the poems of his which were published or known
to Ovid by a. d. 2. Cynthia, Ovid says, was Propertius' sole work
or subject. This word opus does not necessarily mean a pub-
lished, but only a completed work ; though, as a general rule,
the two things are the same. Again, it is unnecessary precision
to confine Cynthia to the first book. All the Cynthia poems
may be and probably are meant. But it does look as if our
Book iv. (v.) was then unknown to Ovid in its collected form.
This cannot cast any doubt on its genuineness, which is abso-
lutely beyond suspicion. The internal evidence of its Propertian
authorship is so strong that it would justify us in attributing
it to him, even if traditionally assigned to some one else. The
conclusion then which it seems should be drawn is that the
book was published posthumously, and published later than
▲.d. 2.

e2

lvi

INTRODUCTION.

The poems of Propertius fall into the following
division : »**#.

A. Personal, chiefly amatory, and ad-
dressed to Cynthia ; the bulk of the poems and nearly
all of the first three books.

B. Political and social, on events of the day ;
addressed to Augustus, Maecenas, &c.; e.g. n. i., iv.
(v). xi.

C. Historical and antiquarian; the bulk of the
last book. A good many of these latter deal with
derivations of names; Vertumnvs (el. ii.), Sanctis (ix.),
the Tdrpeian rock (iv.), luppitcr Feretrius 1 (x.).

The following detailed analysis of the different
books will be instructive* :

A Amatory

\

Cynthia
elegies

Others

B

C

Total

I

15

4

1

1

21

II, III

30

2

2

—

34

IV

13

5

7

—

25

V

2

1

3

5

11

60

12

13

6

91

These figures speak for themselves. The great
preponderance of Cynthia elegies and their decrease in
number in the last two books are especially noteworthy.
Compare page xxiv.

1 The Romans seem always to have been interested in the
history of a name, and more so after Varro's time. Propertius
especially shews an inclination to etymology. Besides the
names mentioned he explains Calliopea, Latris, Superbu*
(Tarquinins), Argennum. Compare pp. lxix, xc.

9 It must be observed that the classification is necessarily
rough, as some of the poems, e. g. v. i., have two subjects.

INTRODUCTION. lvii

§ ii. Literary style.

There are not many direct criticisms of Propertius
in ancient writers. QuintUian (10. 1. 93),
while himself giving the preference to $$$!?* ***
Tibullus, admits that some critics placed
Propertius above him l . Ovid refers to him several times;
and, where he uses an epithet, he calls him once tener
(A. A, 3. 333) and twice blandus (Tr. 3. 465, 5. 1. 17).
Martial calls him Uzsciuus (8. 73) and facundus
(14. 189). The passage from the younger Pliny about
Propertius has been already quoted, p. xxviii. It does
not give one a favourable opinion of Pliny's critical
sagacity. The qualities which he praises
in Passennus Paulus, and which he finds jJJ£ r ****&**"
constitute him a 'true descendant' of Pro-
pertius and give his work the character of being
' clearly written in the house of Propertius/ are by no
means characteristic of Propertius. He is not par-
ticularly tersus, ' smooth and finished,' an epithet which
Quintilian applies much more appropriately to Ti-
bullus ; molle and iucundum are still less distinctive,
and the latter word only indicates a mere general
satisfaction. But the other judgments are not much
better. No critic of discernment would now place
Tibullus above Propertius, though the former has far
fewer faults, and sinks below his level of excellence
much more rarely. When Ovid and Martial call
him tener and lasciuus, they are thinking rather of
his subject than of his treatment of it. There are
only two traces of a recognition of his real merits,

1 Elegia Graecos quoque prouooamus cuius mihi terms
atque elegant maxime uidetur auctor Tibullus. sunt qui Pro*
pertium malint. Ouidius utroque lasciuior sicut durior Galhra.

IViii INTRODUCTION.

the hlandus of Ovid and the facundus of Martial,
of which I shall say more anon. The truth
is that the literary criticism of the Romans Roman literary
was essentially superficial. They had not crUicUm '
at their disposal the keen scalpel and the polymath ter-
minology of modern analysis. Nor had they
the delicate perception and flexibility of J$«y. 9uperf * ci '
expression which might have supplied
\iijb<h* these deficiencies. Their rhetorical bias 1 , the narrow-
limits and concrete character of their vocabulary and
their practical habits of mind all worked in the same
direction. And if the Roman critical
resources were thus limited, Propertius p^^ll^
must have taxed them severely. His ob-
scurity, his indirectness and his incohcrencies were
all offences against the Roman taste which (to take a
liberty with a line of Tennyson), loved to hear The apt
oration flowing free From point to point. Hence it
is no matter of surprise that he was much less popular
with his countrymen than Tib villus, and that there
are much fewer notices of him than of his rivaL
None the less however was he cherished in the sympa-
thetic appreciation of the literary few, and exercised
through them a real, though unacknowledged, influence
upon the popular mind.

I have already said in words which perhaps require
explanation, that Propertius stands almost
alone amongst the poets of his and other mS^SSH ^
times. By that I do not mean of course
that in point of poetical genius and achievement he is
the greatest or amongst the greatest poets of the world ;
but that his work is stamped by an individuality so
peculiar as to entitle him to a separate place and
recognition.

1 It is worth noting here, that their best criticism is to be
found in Quintilian's Institutes of Oratory, a practical manual
by a professed rhetorician.

INTRODUCTION". lit.

We have seen bow his idiosyncracies repelled the
Xiatin taste. This is not surprising with
a writer who carries them so far as to f2«^J. ormo '
raise the question, the at first sight para-
doxical question, whether he is writing in Latin at all.
Where else in Latin shall we find sentences like these 1

et duo in aduersum missi per moenia currus
ne possent tacto stringere ab axe latus.

iv. 10 (11). 24.

or

or

or

baeo postquam meeum querula sub lite peregit.

v. 7. 95.

baeo lvmpba puellis
auia secreti limitis una fluit. v. 9. 59.

Pbidiacus signo se Iuppiter ornat eburno. iv. 8. (9) 15*

This is not the Appian high road of Latin; it iaf
an untrodden and sequestered bypath of Propertius'
own.

His chief demerits have been already enumerated.
A good many of them are summed up in
the one word obscurity. Much of this H ^ l SSSP f '
obscurity is due to the singularity of
expression which has been just exemplified. These
tendencies towards what is out of the way are by
no means easy to unravel. But we may be certain
of one thing. They are not due to affectation* They
are peculiarities deeply rooted in his genius, they
appear in the most spontaneous unstudied passages,
and to compare them to the strainings of a conscious
pedant like Persius is to miss the whole distinction
between the far-fetched and the abnormal 1 . Besides
the singularity to which I have referred and which

1 Some have explained his peculiarities as due in part to
his Umbrian origin. It is a mere conjecture.

Ix INTRODUCTION.

I know not How to name and the love of literary
allusion which he shared with others of his age, but
which is more marked in him than in them, and a
certain delight in archaisms which is all his own, his
difficulty and obscurity is due to other causes which
may be more easily defined.

First and chiefly it is- due to a certain vagueness
and indirectness in his manner of con-
ceiving and presenting an idea. Where ^J^" **~
other poets would bring it immediately
before us, Propertius indicates the region where it
may be found; and often his indications are by no
means sufficient to identify it. There may be other
ideas within the region ; and the reader is left to
choose between them. To change the metaphor, the
outlines of his pictures lack sharpness and precision,
and the colours and even forms on his canvas tend
to blend imperceptibly with each other. Thus it is
the general impression that fascinates us in his poems,
not the proportion and perfection of its details. It is
possible theoretically to distinguish between a certain
tortuousness in Propertius , way of arriving at an idea
and his indefiniteness in putting it before us. But
the two things are in practice so much connected that
I shall not attempt to separate them in the examples.

To take perhaps the most striking example of all,
where another would say to ' believe ' a charge, Pro-
pertius says to ' disseminate ' it, iv. 23. 14 note. f You
will not be fond of changing ' is nee noua quaerendo
semper 'amicus eris I. 13. 12; 'to love one maiden'
is ttna amare domo in. 18. 8 (16. 24); in the same
poem we have v. 13 quos utinam in nobis, uita,
experiare labores, and v. 30 iam tibi de timidis iste
superbus erit. In iv. 6 (7). 38 'you will rarely
succeed,' ut tibi succedat, uix semel esse potest. 4 If
the other refuses me her love, 1 altera si quando non
sinib esse locum, in. 15 (13). 38. So in adjectives

INTRODUCTION. lxi

and nouns. "The tears fell fast adown,' ex oculis
multa cadebat aqua iv. 5 (6). 10 (also of sweat m.
15 (13). 38), 'fire-breathing bulls' flagrantes taurod
iv. 10 (11). 9, 'the realms of night 1 caecis locis i.
19. 8 opposed to superis locis in. 26. 4 (20. 50), and
other examples in the commentary 1 .

Sometimes the cause is a desire for brevity 2 .
The sp/iere of a word or phrase is left
undefined and has to be gathered from Brevit *
the context in. 10 (9). 21 quin ego deminuo curam
(sc. mihi), rv. 1. 36 ilium post cineres auguror ipse
diem (to be taken with diem (futurum), not with
auguror\ iv. 4 (5). 6 nee miser aera paro clade, Corinthe,
pia, Ac. 8 Hence words appear in new senses, rudis
'a stranger to love' iv. 16 (17). 7, pugnante 'strag-
gling' (of ivy) v. 7. 79, diuidit 'causes dissension'
i. 12. 10. Somewhat different are cases like tuba
i trumpet-note,' manus * movement of the hand,' iv.
4 (5). 3 nee tamen inuiso pectus mihi carpitur auro,
€ the hateful love of gold. We may place here the use
of common for proper names, of which he has one
striking example. The Fates, the Muses, and even
the Danaids are all called * the Sisters ' ; in. 5. 28,

1 Other traces* of the tendency may be seen in his use of
quicumque, quandocumque, talis (for hie) <ftc. ; of esse, ire, <&c.,
for more precise words ; of in with the abl. ( in the case of/ and
of the abl. itself, for which see below, pages cxviii., o.

* The most striking is where he only gives the beginning
and end of a thought, omitting the intermediate links. Some-
times an intermediate step in an argument is left out : some-
times two stages of an action or two scenes in a picture are
run into one. Examples of the first are in I. 2. 27, 8. 21, n.
7. 15, &c. ; see notes, and compare the use of igitur below.
Examples of the second are to be found in i. 8. 15, 9. 29, in. 8.
IS (probably), and notes, and cf. l 1, 8 n, See also iv. 20. (7)
17 Amor ipse suo eonstringet pignera signo. (The tying of letter
tablets came first ; cf. v. i 82 pacta ligat ; then the sealing.)

3 Sometimes, as in this example and v. 11 . 85 mutarit ianua
leotum, the idea has to be corrected as well as expanded.

hdi INTRODUCTION.

in. 28 (22). 27 ; v. 1 1. 27. So Cupid is puer and ales ;
I. 19. 5, in. 28. (22). 31. Paris is pastor, n. 2. 13.
The use of mater for * stepmother,' iv. 7 (8). 38, is
surprising. Compare v. 11. 21, 59 and notes.
Occasionally harsh omissions occur, especially of the
personal pronouns; e.g. tu where the person is
changed iv. 10 (11). 68, te ib. 24. 6.

One of the peculiarities of Propertius is the great
and often disproportionate stress which
he lays on a single word and that word 2onJJ # on Hngl *
frequently not one of the most promi-
nent syntactically in the sentence n. 24 (20). 20
hanc miser implorat nauita LeucotIu>en * implores her
help, as now divine / v. 6. 52 quae nisi iusta subest
excutit arma pudor. See more in the notes and
Hertzb. i. p. 142. Another source of
obscurity is a disposition to be spasmodic nco CTU5e *
and incoherent. His poems have often the appearance
of being disarranged; and thus critics
have resorted to lacunae and transpo- a'/m^ce! 1 * in
sitions where these aids to intelligence
ought never to have been invoked. The derangement
goes deeper than this and penetrates to the very
heart of a sentence. What disorder is this? iv. 12
(13). 55, 56

te scelus acoepto Thracis Polymestoris auro
nutrit in hospitio non, Polydore, pio,

or this? iv. 3 (4). 18

et subter captos arma sedere duces.

For more examples, see Hertzb. p. 121 sqq. But a
sentence is comparatively fortunate if its order is
only perturbed. Frequently it is not finished at all,
and sometimes there is no attempt to
finish it; e.g. iv. 17 (18). 1—7, 19 (18). Anac ^ 11 ^
21, 22. Hertzberg has shewn (p. 125 sqq.) that it

INTRODUCTION. lxiii

is in Propertius' manner to leave his sentences with-
out connecting particles. "Where he em-
ploys them, he is not less peculiar. If he ^ $&£££!*'
uses igitur where others would have used
nam or enim (iv. 19 (18). 1. c. tuque, o Minoa uenum-
data Scylla figura, tondens purpurea regna paterna
coma, hanc igitwr dotem uirgo desponderat hosti ; cf.
II. 5. 27 n.), his nam and namqv-e, on the other hand,
appear where they add little, if anything, to the
sense, in. 14 (12). 12, iv. 5 (6). 5. His use of certe is
not less peculiar, n. 7. 1 n. He is fond of the
violent at, where others would use Bed or even et ; e. g.
iv. 8 (9). 14. The connexion of sentences
is often extremely loose, I. 18. 23, 24 quot ^ffSSSSS^
euros,. .quae. . .cognita sunt, iv. 1 6 (1 7). 40
haec ego referam qualis Pindarico spiritus ore tonat,
in. 13 (11). 34 ultima talis erit quae mihi prima
fides. Generally we may say that he is
fond of abrupt transitions of thought and J£** tranti -
construction. For the latter see below,
p. exxiv. The former are too common to need illus-
tration.

Sometimes on the other hand the opposites of these
tendencies occasion difficulty. For ex-
ample, instead of incoherence we find o^osUetendm-
too close a coherence between the mem-
bers of sentences. Words which we should at first
sight suppose went with the sentence generally,
we find on examination are to be con-
strued only with a part of it. Thus we u?ty**if con-
get a stib-comtruction, as it were, besides 9truetion '
a principal one; and a part of the sentence is bracketed
off from the rest. Thus we have v. 3. 20 struxit
querulas-rauca-per-ossa tubas, ib. 11. 29 fama-per-
auita-tropaca &c., I. 10. 30 qui numquam uacuo-
pectore-liber erit <fcc. There are three examples in
I. 13. 2 — 8. Sometimes a word goes equally with

lxiv INTRODUCTION

two other words, and we thus get a two-headed con-
struction; e.g. ii. 32 (26). 54 nee si consulto fnhnina
missa tonent, i. 11. 5 nostri crura subit memores a
ducere noctes (n. and d. both go with c), v. 6. 6
ductus erat per quas ante Iugurtha uias (Le. ducta
per eas uias per quas ante ductus erat Iugurtha).
Sometimes the expression becomes extraordinarily
brief; e.g. v. 4. 73 urbi festus erat (dixere Parilia
patres), hie primus coepit moenibus esse dies (where
dies has to be anticipated from the following dies),
in. 19. 19 (16. 35) tu mea compones et dices ossa, Pro-
perti, haec tua sunt (Hertzb. p. 123). Sometimes the
sentence must be read as a whole, as it is almost im-
possible to give it a detailed construction. Examples
are in. 32 (26). 60 quern tetigit iactu certus ad ossa
deus (we must take tetigit with iactu and i. with
certus ad o.), ib. 1. 83 (misunderstood by the commen-
tators but taken rightly by Teuffel, Hist. Lit. i. p. 373),
iv. 1. 14 non datur ad Musas currere lata uia, ib. 3.
Cf. I. 20. 24 where I have compared the tendency of
the Greek tragoedians to spread the meaning through
a sentence rather than apportion it among the words.

A fulness which often degenerates
into redundance alternates with brevity, tofomdatajw,-
Not to mention the numerous cases in
which Propertius simply reports a word or some part
of it or of some kindred word or some other word ,
which carries the same meaning, for which it is
sufficient to refer to Hertzb. p. 107 sqq. and
many examples pointed out in the notes, we find
two or more words which mean substantially
the same appearing together where one _.
would be quite sufficient. Sometimes this where one wta
only creates a sense of redundance jag. I. do '
11. 10 remis confisa minutis paruola... cumba,, in. 5.
8, v. 1. 63 nostris tumefacta superbiat Ymbria libris,
ib. 46, 47 uexit et ipsa sui Caesaris anna Venus.

INTRODUCTION. lxv

anna resurgentis portans uictricia Troiae 1 . But often
the consequence is that either the construction is
clogged or the meaning confused. Examples of the
first are in. 4. 1, 2 non tot Achaemeniis armantur
Susa sagittis spicula quot nostro pectore fixit Amor,
i. 14. 5, 6 et nemus unde satas intendat uertice sHuas
urgetur quantis Caucasus arboribus, n. 5. 11, 7. 8 and
notes. Examples of the second are n. 8. 40 mirum si
de me iurc triumphat Amor, in. 8 (7). 10 die alias iterum
nauiget Illyrias. Often it is due to a desire to be
empfuitic (which may easily become exaggeration) com-
bined with an inattention to the precise form of the
expression. Thus saepe is used in I. 13. 1 tu quod saepe
soles, I. 15. 1 saepe ego multa tuae leuitatis dura time-
bam: so semper II. 9. 32 hoc unum didicit f emina semper
opus: solus II. 1. 65 hoc si quis uitium -potent mihi
demere, solus Tantaleae poterit tradere pbma manu, in.
13 (11). 35 hoc mihi perpetuo ius est quod solus ama-
tor nee cito desisto nee temere incipio. Sometimes mere
inattention to the context produces an effect which
was not intended ; iv. 6 (7). 26 where the sand is asked
to do a favour sponte sua, at the same time that it is
addressed as uUis. For in. 5. 28, where I have ex-
plained the recklessness of the expression as due to a
sick despair, see note. So in i. 16. 22 (n.) tristis et in
tepido limine somnus erit he had Catullus' mihi limina
tepida before him, and he put it down without ob-
serving that it does not go well with tristis* But
oftener exaggeration is the cause. Proper- „

" ,. , , , ,. V Exaggeration.

tins is very liable to exaggeration. He

gets carried away and uses a stronger phrase than is

1 These must be distinguished from mere careless repetitions,
e.g. v. 1. 121, 124, Vmbria — lacus Vmher, or cases where the
repetition adds something to the sense, v. 4. 39, 40 quid minim
in patrios Scyllam saeuisse capillos candidaque in saeuos in-
guina uersa canes? Scylla is punished with the same sae-
uitia as she shewed to her father. [Baehrens alters both pas-
sages without necessity.]

Ixvi INTRODUCTION

justified and perhaps than was intended. This adds
to his vagueness and obscurity. For we never know-
how much he has overstated and overcolourecL A good
example is iy. 10 (11). 41 (of Cleopatra). It will be
seen how the expression becomes more and more ex-
aggerated, until it is absolutely false and nnreaL

ansa lorn noetro latrantem opponert Anubin

et Tiberim Nili cogere ferre minas
Bomanamque tnbam crepitanti pellere Bistro

baridos et oontis rostra Liburna sequi (Cleopatra fled)
foedaque Tarpeio conopia tender* saxo

iura dare et statuas inter et arma MarL

Hardly less strange is v. 3. 5, 6 ant si qua in-
certo fallet te litters tractu, signs meae dextrae tarn
morientis erunt. The rest of the poem shews that
Arethusa by no means thinks death is at hand. There
is a curious instance (already quoted) in iv. 13 (14).
21 lex igitur Spartana uetat secedere amantes (Le.
allows them not to be separated). It is needless to
multiply instances which may be gathered from the
notes, e.g. in. 1. 7 1 .

And now we have traced most of the threads which
cross in Fropertius' tangle of obscurity: and though
we have only been able to do so briefly and imperfect-
ly, we have learned, I trust, better to appreciate his
singularity. Many of the tendencies which we have
pointed out are not peculiar to him. Other writers have
written with indenniteness or exaggeration, and have
overlooked the meaning involved in their words or re-
quired by their context. In some perhaps this has
produced as much confusion as in Propertius. Many

1 I may however call attention to his fondness for semper
and omnia, semper is only ' very often ' ; i. 20. 14 n., i. 3. 40,
hi. 8 (7). 17. For omnia see in. 7 (6). 50 (a fine use) omnia
si dederis oscula, pauca dabis, iv. 1. 23 omnia post obitum fingit
maiora uetustas. It is frequent with an adj. or part. e.g. I.
4. 14 lacrimis omnia nota meis.

INTRODUCTION. lxvii

authors have been brief to obscurity or full to re-
dundance: but few have been both. Still rarer is
it to find such oversubtlety in the arrangement and
connexion of ideas. Barest of all to find this
alternating with an absolute disregard of their con*
nexion. But it raises our wonder, indeed, to find
all these qualities united in a single writer, and we
cannot believe that there can be anything else tarn
sibi dispar.

But the phenomena which meet us next are stranger
still, and, I believe, even unique \ As they have not
received the attention which is their due, I shall ex-
amine them in detail. In presenting his
conceptions Propertius often resolves them of an idea™
in a very peculiar way. After giving us «2U^ meWw "
an idea in one form, he frequently gives
it immediately in another, and treats this new
aspect or manifestation of it, as though it were a
fresh idea. To borrow a metaphor from physics, he
frequently polarizes an idea and gives it two distinct
unconvicting expressions. This often has an exceed-
ingly odd effect as may be seen from the following ex-
amples. I. 11. 11, 12 aut teneat clausam tenui Teu-

1 These expressions may seem too strong to some of my
readers. As a statement of the facts themselves, I do not
thin,k that they are. I have not found anything like them
elsewhere, except a few traces of the same tendency in Lucan.
It may be said, however, that I have misinterpreted their
significance. Some will think perhaps that they are merely
unusual manifestations of verbosity ; others, perhaps, that they
are only strange examples of th6 Latin tendency which is most
marked in the poets to repeat an idea for emphasis or clear-
ness, and that here too Propertius is ultra-Latin. See p. xciii.
That both these explanations are possible, and perhaps partially
true, I would admit, and the more cheerfully so as I hold most
firmly the conviction that there are no linguistic facts which
are really simple, and that their explanation, like themselves,
must often ramify into the most widely separated regions both
of speech and of thought.

Ixviii INTRODUCTION.

thrantis in unda alternae facilis cedere lympha manu,
ib. 20. 17 — 20 (and notes) namque feruntolim Pagasae
naualibus Argon egressam...Mysorum scopulis adpli-
cuisse ratem (the Argo is the ratis, only viewed differ-
ently), ib. 22. 6 — 8 (note) sit mini praecipue, puluis
Etrusca, dolor... tu nuUo miseri contegis ossa solo, n.

7. 17 hinc etenim tantum meruit mea gloria nomen
('a glory winning a reputation' is a phrase which will
remind our readers of Alice in Wonderland), with
which compare in. 5. 21 nostri notescet fama sepulcri.
iv. 1. 17 is a striking example Bed, quod pace legos,
opus Jwc.de tnlit intacta pagina nostra uia; ib. L 35
meque inter seros laudabit Roma nepotes (the nepotes
are the Rome which will praise Propertius) with
which v. 1. 30, a passage that has given some trouble,
is to be compared magnaque pars Tatio rerum erat
inter oues the property was 'in sheep* i.e. it was
sheep ; v. 3. 51 Poenis tibi purpura fulgeat ostris (one
of these words means the stuff); ib. 9. 21 sicco torret
sitis ora palato. So also in the use of verbs i. 18. 29
quodcumque meae possunt narrare querelae, in. 32
(26). 87 haec cantarunt scripta Catulli, 89 haec...
eonfessast pagina Calui, iv. 25. 17 has... cecinit mea
pagina diras.

Sometimes it is less obvious, i. 19. 14 quas dedit
Argiuis Dardana praeda uiris (the heroines were
part of the prey), in. 15 (13). 21 si exiles uideor
tenuatus in artus (the man is his limbs) ; compare v.

8. 41 nanus et ipse suos breuiter concretus in artus
and observe the false echo or reminiscence, iv. 16 (17).

9. 10 hoc mihi quod ueteres custodit in ossibus ignes...
malum, ib. 30 cinget Bassaricas Lydia mitra comas (he
is addressing Bacchus and he uses an adj. derived
from one of his attributes instead of tuas), v. 7. 7 (of
Cynthia) eosdem habuit secum quibus est elata capil-
los where it is very noticeable, as shewing how difficult
it was after all for the Roman imagination to conceive

INTRODUCTION. Ixix

that what it had seen devoured and dissipated by the
flames could reunite, even in another world. There
is an uncomfortable feeling in the description that
Cynthia's ghost was pieced together; compare v. 12
poUicibus fragiles increpuere manus. Once more it
gives occasion to subtle etymological uses of words.
Thus in in. 5. 8 plebei paruae funeris exsequiae (the
procession of the funeral), v. 9. 24 lucus ab umbroso
fecerat orbe nemus 'a circle of sacred shade trees
(lucus) formed a glade' (nemus). nemus is an open space
in a lucus 1 . There is a term, already used by others 8
with reference to Propertius, which seems to me to
be an appropriate description of the foregoing phe-
nomena ; and I have consequently used it throughout
my commentary with reference to them. I should,
however, be sorry to see it limited to them, as it
gives very happily the general disparateness of the
Propertian genius. The word I mean is ' disjunc-
tiveness.'

This may be justly called perverting language and
forcing it into channels along which it was never in-
tended to flow. But here, -as elsewhere, p
there is the inevitable retribution ; and Pro-
pertius on his part is often snared in his words. I
have already pointed out instances where his choice of
expressions has been irrationally 8 influenced by what
he or others have written : and examples of these ' false
echoes,' as Professor Campbell in his Sophocles appro-
priately calls them, might be multiplied still further.
Thus we have in n. 1. 57, 58 omnes humanos sanat
medicina dolores : solus Amor morbi non amat artificem,
an obvious echo of i. 2. 7, 8 crede mihi non ulla tua

1 Compare p. xci.

2 I do not know who used it first, or in what connexion.
Nor can I now find out where I daw it quoted.

8 By this I mean that, though the meaning is changed, the
expression is the same.

P. P. f

lxx INTRODUCTION.

est medicina figurae : nudus Amor formae non amat
artificem (where see note) ; in in. 3. 20 uapulcU
umbra mea is a reminiscence of Plautus (quoted
in the note), n. 6. 26 et quaecumque uiri femina
limen amat is from Horace Od. 1. 25. 4 amatque
ianua limen. I have pointed out the same tendency
in iv. 24. 7 (where see note) and iv. 7. 58 *,
which shews the influence of metre. p r<ue *'

With all his love of variety and inclination to change,
Propertius has a large number of phrases into which
his thought seems naturally to fall. Of these I have
already given some examples and drawn some infer-
ences from them (p. xl.). Their number need not sur-
prise us. It is a mark of a certain phase 6f disorga-
nized intellect to set round anything which has even a
/vrv. "ft* I comparative fixity. Still less, as the foregoing exam in w-
v -- * «. tion might show us, need we wonder that their meaning
often fluctuates and sometimes disappears. They are
the buoys in Propertius* troubled sea of thought and
they share in its heavings. There was another cause
for these repetitions which we must not neglect.
Propertius was deeply imbued with the spirit of
Greek literature, and he felt with a Greekin/l
true, poet's instinct that his own lan-
guage was in itself incapable of producing the qua-
lities which attracted him. Consequently he called in
the assistance of art, and, following in the steps of his
Alexandrine masters, he has succeeded better perhaps
than any other Roman poet in giving to his verse
something of the harmony and symmetry of the
Greek. I cannot spare space to demonstrate this at
length : for one illustration will suffice and Hertzberg
(pp. 107sqq.) has given many. It is very apparent in

1 I am aware .that these and the following remarks ma\
seem fanciful, especially to persons who have not considered
the subject.

INTRODUCTION, lxxi

1 * .. . l

ii. 3. 43, 44 siue illam Hesperiis sine illam ostendet

3 3 4 2 3 4 8

Eois, uret et Eoos 1 uret et Hesperios. Compare I. 8.
25 and indeed the whole of the poem, i. L
16. 30, 20. 26, and the notes*. The attrac- try and corrv-
tion of these correspondences in metre and . ^ <mdenee -
syntax extends yet^further ; and under their influence
Propertius often assimilates the form of one sentence
to another, even when^ there is little similarity in sub-
stance between them, ^xamples are 1. 12. 20 Cynthia
prima f uit, Cynthia finis exit (Cynthia et ultima erit
would have made the correspondence real); n. 5. 28
Cynthia forma potens, Cynthia uerba leuis (the discord
between the real construction and that which the
words seem to suggest is very marked). In' m. 13
(11). 18 the result is a ver£ forced expression ambos
una fides auferet, una dies. While discussing the
iufluence of mere expressions in Propertius, I will add
a tolerably complete list of the instances T . t , ,

. J * . ^ • . Literal ami mc-

wnere in consequence or the use of a word taphorkai tow-
in more than one sense we find either a d '
confusion, or more strictly a non-differentiation of ideas,
or a more or less conscious play upon words, in. 1 7
(14). 23, 24 (a passage generally misunderstood)
libertas quoniam nulli iam restat amanti, nullus liber
erit si quis amare uolet 'since we now see (iam as in
in. 32 (26). 24 omnes iam noruirt quam sit amare
bonum) that no lover is free (i. e. his own master), he
will be no free man (i. e.free-spirited) who chooses to
love/ ib. 19. 24 (K>. 40) ferre ego formosam nullum

1 Observe the double quantity of Eous, and compare what
Martial says 9. 12. 13 sqq. on the unsuitability of Carinas for

— - «

verse, diennt Earinon tamen poetae, sed Graeci quibus est nihil
negatum et quo** Apes 'Apes decet sonare ; nobis non licet esse
tarn disertis qui Musas colimus seueriores.

3 The repetition of the same words in similar positions is
the chief agent in producing these effects.

/2

lxxii INTRODUCTION.

onus esse puto 'to bear with the beauteous is no burden,'
so in iv. 1. 6, iv. 6 (7). 33, iv. 8 (9). 23, 24, iv. 23. 7
and notes, v. 5. 54 uersibus auditis quid nisi uerba feres?
(a play on uerba dare to cheat) 1 . In some of these
cases the literal and metaphorical are blended. So also
in iv. 3 (4). 4 Tigris et Euphrates sub tua iura fluent,
where the idea of the actual motion of the rivers
is united with the metaphorical idea of their passing
under Augustus 1 jurisdiction. We have, however,
nothing as bad as Ovid's experiments in this line, of
which I will quote two, in order to shew how hope-
lessly false and hollow the thing may become -when
not guided by genuine poetical feeling. Trist. 3. 5.
45,46

non mihi quaerenti pessumdare cuncta petitum
Caesareum caput est quod caput orbis erat (two bodies
and one head)

Pont 2. 5. 38

sed sunt tua pectora laote

et non caloata candidiora nine (a good metaphor spoilt,
material and metaphorical ' fairness ' being confused).

I am sure that my readers will pardon this some-
what long, though imperfect, discussion if
I have shewn them that in Propertius we SpK^iSwf
are dealing with no ordinary phenomena.
These contrasts, these extravagancies, these fluctuations
and incoherencies, these half-formed or misshapen
thoughts, what do they signify] What is the secret of
this chaos? It is that here we are looking on a stage
in the realization of thought which is not usually pre-
sented to our view. In other writers we only see the
full-formed crystals, sometimes flawed and dim, some-
times bright and clear. In Propertius thought is
crystallizing still. It is still comparatively amorphous

1 These must be distinguished from cases where the con-
fusion is in the idea itself ; where, for example, a God and his
statue (y. 1. 7) or a river and river-God are not discriminated
(iv. 3. 46 n., v. 2. 7n.).

INTRODUCTION. Ixxiii

and still turbid with development. At such a stage
there is hardly any limit to possibilities; and almost
anything is possible with Propertius. At such a stage
the susceptibility to impressions is extreme; and we
have seen how potent even the smallest influences are
in attracting and deflecting Propertius. But I will
leave my readers to pursue the metaphor farther for
themselves 1 .

It is hardly necessary to point out that with
thought, thus unconsciously developing
itself, a conscious self-criticism was impos- f^SS«c2m? r
sible. And I cannot And the slightest
proof or hint in the poems that they were subsequent-
ly submitted to its test. It is true that we find traces
of double readings occasionally (see Appendix A);
but these are to be differently explained. Poets are
not usually good critics, especially of their own com-
positions ; and Propertius certainly was no exception
to the rule. There is the greatest difference in his
work. By the side of poems which shew the highest
flights of his imagination, we find, as in in. 18
(15), the flattest level of conversational prose. Even
if he had wished thus to improve his poems, it is very
doubtful whether he could. For his best work is that
which is done at once under the strong and control-
ling influence of immediate inspiration 8 .

1 This, though an early stage in the development of poeti-
cal thought, is not the earliest. The curious in such matters
may find the earliest in some of the poems of Blake.

I trust these remarks will be intelligible. They are as clear
as the nature of the case allows. It is impossible here at any
rate to distinguish between the genesis of thought and its em-
bodiment in language.

* There is nothing that shews so much spirit as v. 8, nor
so mueh grace as hk 9 (10), a birthday poem to Cynthia ; and
they are as finished as anything in Propertius. Tet they
were written immediately after the events that they com-
memorate.

lxxiv INTRODUCTION.

I have hitherto been mainly occupied in tracing
the peculiarities where they have had an ^ ,
injurious influence upon his work; but we rising out of his
must nob forget that there is another side. ^ eculvxrUuS9 -
To them we owe the greater part of that facundia
which, as we have seen, Martial singles
out for his praise. Not only is the vo- Ha € ^ acundta -
cabulary on which he draws unusually large 1 , but
he employs it with the greatest freedom*. Thus he
frequently uses a word in a fresh sense on the strength
of some analogy. E.g. on the analogy of leuitas
'inconstancy' he has grauitas in the sense of * con-
stancy' in. 13 (11). 14, and pondus habere 'to be
constant,' in. 20 (17). 22. This, and the frequency
with which words occur with slight changes in mean-
ing give an unequalled freshness and variety to his
style.

But this freedom is by no means confined to his
expression. It is even more apparent in
his thought I have spoken already of ^u^!' qfPro '
the extraordinary originality or rather
singularity of his conceptions. This is shewn in many
ways; ]>erhaps in none so clearly as the boldness of
his imagery. I do not know any ancient writer who
compares with him in this respect with the exception
of Pindar ; and Pindar's boldness is not that of Pro-
pertius 8 . The one shews the exuberance of a splendid

1 In estimating it we must make allowance for the unu-
sually large number of proper names that occur in his writings,
and also the number of words and phrases which occur again
and again and form, as it were, the framework of his style.

* One of the best ways of testing this is to look oat in the
dictionary a few words which occur in Propertius, and to
observe the number of oases in which his usage differs from
the rest.

■ In several other respects Pindar and Propertius approxi-
mate. In their grammar I may notice the predicative use of
the noun, yow4om (Hot * your parents while they live'; a part.

INTRODUCTION. lxxv

and daring genius : the other the irregular workings
of a mind whose yet indefinite possibilities were not
directed by any law either external or self-imposed,
and whose natural bent was towards the singular and
solitary* There is hardly any simile or Metaphors
employment of a simile from which Pro-
pertius shrinks. Thus we hare v. 1.61 Ennius hirsuta
cingat swa dicta corona, iy. 8 (9). 3 n. quid me scri-
bendi tarn uastum mittis in aequor? Occasionally
his metaphors are so bold and so remote from the
subject that they illustrate as to be almost unreal.
Thus * to sing of war ' is hardly recognizable in Phoe-
bum quicumque. moratur in armis iv. 1. 7; Cynthia's
avarice is expressed with hyperbolical symbolism in
in. 8 (7). 17 semper in Oceanum mittit Trie quaerere
gemmas et iubet ex ipsa tollere dona Tyro.
So metaphors are sometimes so accumu- a * A w°P ta -
lated or so interwoven with metonymies as to produce
what was technically known as dWrjyopta or alia
or alio, a word which we cannot translate literally but
which means the real meaning of the expression is so
completely unlike its apparent, literal meaning that,
in order to be understood, it has to be completely
recast. A good example of the first is v. 6. 1 — 10,
and of the seeond ib. 58 n.

It is in his metaphors perhaps that Propertius
approaches most closely to the modern
spirit. But the resemblance is not limited Modern f P iriL
to them. It is a resemblance which must at once
strike the attentive reader and perhaps puzzle him at
first. It is not merely due to his treating of human
passions and affections which are the same through
all time and under every mask of fashion. It is not
this identity of subject or even of treatment that I

or adj. and noun forming one idea, xQ0«y& TBXXcfr the < desire
for Greece' ; their curious use of prepositions, &c.

1

lxxvi INTRODUCTION

mean now. It is rather a resemblance in the tone.
In his employment of sentiment Fropertius is modern
and even romantic. The personal feeling -which, as
already seen, is so predominant in his poems is reflected
upon inanimate objects and external events ; they are
transfigured so to .speak in a human mirror* The
form which these coincidences take may be best under-
stood from a few examples.

traicit et fati litora ma gnus amor. i. 19. 12.

imposuit prorae publica uota tuae (freighted with a nation's
prayers). v. 6. 42.

cunota tuns sepelinit amor. rv. 14 (15). 9.
lacrimis omnia nota meis. i. 6. 24.

mi fortuna aliquid semper amare dedit (an 'object' for my
love). m. 15 (13). 18.

tu modo, dum lucet, fructum ne desere nitae.

m. 5 (6). 49.

His fancy often assumes a modern shape especially
when swayed by the * pathetic fallacy.'
Thus in v. 11. 42 labe mea uestros eru- £**** fal '
buisse focos (and note) the fire's red light
appears to the poet as the blush of shame. The Par-
thian arrows are gladdened by blood I v. 11 (12). 11
tua Medae laetentwr caede sagittae. v. 1. 95, 96
is a very fine example, Gallus at, in castris dum
credita signa tuetur, concidit ante aquilae rostra
cruenta suae. To the poet's excited fancy the eagle
has dyed its beak in the blood of its protector.

There is another attraction in Propertius to which
the peculiarities above mentioned have
sensibly though less obviously contri- ,Blandttia -'
buted. It is the one for which Ovid commends him
when he calls him blandus. This blanditia, if I
may use the word, is rather hard to define. It is
a charm better felt than analysed. Yet several

INTRODUCTION. lxxvii

qualities contribute to it. Its chief ingredient is the
writer's power of awaking sympathy. He has no
secrets with us, he admits us to his inmost feelings ;
and, before we know it, our own heart is engaged
in return and is ready to respond to his appeals.
The habit of vagueness which I have already touched
upon is now most effective. It adds a softness and
gentleness to the forms that he would bring before us,
and wraps them, as it were, in a floating golden haze.

And now we have completed our survey of the
ancient criticisms of Propertius. And we have seen
how from their nature they were inevitably incomplete
and unsatisfactory. But we have done much more
than this. We have seen how our endeavour to esti-
mate and even to understand them has necessarily led
us into a closer examination of the causes which have
vitiated them, and thus to a more just appreciation
of the singularity and incongruity of the Propertian
genius.

It now becomes our duty to take a more general
view, to regard him as a >hole and to
assign him his poetical position among his JSToth™ Ro-
successors and contemporaries. naSt. elegiac

There are two other writers who come
into this comparison, Tibullus and Ovid 1 . It is sur-
prising what a difference there is in the quantity of
each that has come down to us. The two genuine
books of Tibullus are less than one-third of the bulk
of the four books of Propertius and less than one-
sixteenth of the elegiacs of Ovid. And yet I think
that no real judge of poetry will hesitate for a moment
to place Propertius high above them both. It is

1 I purposely omit Catullus. His elegies, though containing
fine passages, are, as Mr Munro allows (Catullus, p. 231), by no
means on the level of his lyrics. Their metre has not reached
even the minimum of technical perfection, and is at times rude
and barbarous.

lxxviii INTRODUCTION.

true that in some respects they may both claim the
advantage over him ; Tibullus for refined simpli-
city, for natural grace and exquisiteness of touch. ;
Ovid for the technical merits of execution, for trans-
parency of. construction, for smoothness and polish of
expression. But in all the higher qualities of a poet
he is as much their superior.

In vigour and originality of conception, in ricli-
ness and variety of colouring, nay in the „..„ m .
very quality and compass of imagination
he leaves Tibullus far behind. Tibullus is seen at nis
best in poems like the last in the second book, where he
has a theme which gives play to his delicate sensi-
bility and refined tenderness. In passages like this
he shews a quiet, chastened beauty which is best illus-
trated by quotation.

Castra Macer sequitur. tenero quid fiet Amori?
sit comes et collo fortiter arma gerat?

The delicacy of this picture is beyond Propertius'
reach. Contrast n. 7. 15, 16.

et sen longa uirum terrae uia sen uaga ducent

aequora, cum telis ad latus esse suae?
ure puer, quaeso, tua qui ferns otia linquit

atque iterum erroaem sub tua signa uoca.
* * *

castra peto, ualeatque Venus ualeantque puellae ;

et mihi sunt uires et mihi facta tubast.
magna loquor : sed magnifice mihi magna locuto

excutiunt clausae fortia uerba fores,
iuraui quoties rediturum ad limina numquam !

cum bene iuraui, pes tamen ipse redit.

* * *

iam mala finissem leto; sed credula uitam
spes fouet et semper eras fore ait melius.

In 41, 42 perhaps he touches the summit of his
excellence.

desino ne dominae luctus renouentur acerbi.
non ego sum tanti ploret ut ilia semel.

INTRODUCTION. lxxix

The exquisite feeling of the last line will not readily
be matched. Still this delicacy and finish hardly atones
for the absence of robuster excellence. It is not sepa-
rable from a certain sameness which may easily be
felt as monotony; and its sweetness is apt to cloy.
What we miss above all in Tibullus is variety and
imaginative power and boldness. The latter is so
rare that it almost startles us when it occurs, as it
does in the lines n. 4. 7 seqq.

ego ne possem tales sentire dolores:
quam mallem in gelidis montibus esse lapis,

stare uel insanis cautes obnoxia uentis,
naufraga quam uasti tunderet unda maris.

nunc et amara dies et noctis amarior umbrast :
omnia nunc tristi tempora felle madent.

Both the picture of v. 10 and the metaphor of v. 12
are imaginations worthy of Propertius.

1 now come to Ovid for whose works I would
obtain a juster estimation. To the merits

which I have indicated above he added WUh0vUL
the ability to tell a story with clearness and vivacity
and even with elegance. Nor must it be denied
that he had a wide acquaintance with the works of
the poets who preceded him, Greek and Latin alike,
an appreciation of their beauties and a practical judg-
ment in selecting from them. Whether he had any
of the qualities of a poet himself, I shall leave un-
determined; though it may be doubted with reason
whether in the whole mass of his writings there is a
single poetical image or idea for which he had not
warrant among his predecessors. His calm surface
is most rarely disturbed by genuine feeling. With
Tibullus and Propertius love was at any rate a passion.
With Ovid it was une affaire de cosur. But it is as
a rhetorician that he excels. He finds his function in
presenting a moral or quasi-moral statement to the
public ; he arranges it, he divides it into its parts, he

lxxx INTRODUCTION.

compares it with what it does not resemble, and dis-
tinguishes it from what it could not be mistaken for,
elucidating it all the while by a generous employ-
ment of antithesis and other rhetorical devices of
repute. Here too we may call in the. aid of quota-
tion. A short passage from the beginning of one of
the Heroides (Epist. xiv.), generally considered to be
one of his best works 1 , will satisfy the reader of the
existence of this rhetorical character in Ovid, and
also of the meaning of Quintilian's remark that he
was nimium amator ingeni mi. Possibly it will
satisfy him in other respects as well.

Hypermnestra, the only Danaid, who refused to
kill her husband, is writing from the prison into
which she has been thrown by her father, an account
of her sentiments and the events which have inspired
them. She begins by enlarging upon the text, that
doing our duty sometimes brings us into trouble, v. 3.

Clausa domo teneor grauibusque coercita uinclis ;
est mini supplioii causa fuisse piam (I am punished for
doing my duty),
quod maims extimuit iugulo demittere ferrom
sum rea (do.) : laudarer si seems ansa forem.
(I should not be punished if I had not done my duty.)
esse ream praestat quam sio placuisse parenti.
(I prefer to do it and be punished than not to do it and

be rewarded.)
non piget immunes caedis habere manus. (I do not
regret having done it.)
me pater igne licet quern non uiolauimus urat

(let my father punish me by means of the sacred

emblems to which I have done my duty.)
quaeque aderant sacris tendat in ora faces (do.)
aut illo iugulet quern mm bene tradidit ense (let him
punish me for doing my duty),
ut, qua non eecidit tctr nece, nnpta cadam (do.)

i "The Loves of the Heroines," says Dean Merivale (His-
tory, vol. iv. p. 701) "is the most elevated and refined in senti-
ment of all elegiac compositions of the Romans."

INTRODUCTION. Ixxxi

non tamen ut dicent morientia 'paenitet' ora
efficiet. (yet punishment will not make me repent hav-
ing done my duty.) non est quam piget esse piam
(general reflection ; we do not do our duty if we repent
having done it).

I now pass on to the last point to be considered in
connexion with this writer. There is no The ovtdian
doubt that his successors in elegiac poetry ele oy-
formed their metre upon his model: and we have
been told on high authority that in this treatment the
elegiac couplet 'lost much while gaining more.' I am
sorry that I cannot subscribe to this view. It is true,
as I have already said, that it gained greater polish and
smoothness: but it gained them at the expense of
nearly all its vigour and variety, a loss which more
than counterbalanced its gain 1 . It must be remem-
bered that, as a literature, Latin began to die from the
time that it began to be patronized. Without doubt
there were some great writers after Augustus. But
genius cannot be blasted, even by the favour of a
court; and a Tacitus is always independent of his
times. But the literature, as a natural growth and as
the expression of a nation's thought, was dead. It
had become a literary tradition which was affected to
nausea and polished even to inanity. The beginning
of the end is plainly visible in Ovid. I do not hold
him responsible for this enervation of the elegy. It
was due to causes which were beyond his control and
by which he was influenced himself. But I believe
also that his extraordinary facility and fecundity ac-
celerated its approach. Ovid is an inferior Cicero in
verse. The two writers have a good many points in
common, But I will only mention two to which they
owe most of their influence upon subsequent literature.
The first is their power of taking up the tendencies of
their times, and expressing them in an appropriate

1 Cf. pages cxxvi. sqq.

lxxxii INTRODUCTION.

literary form. This literary susceptibility or discern-
ment has been amply rewarded. They have been
taken as the originators of a movement which at most
they directed: and the vast multitude of concurring im-
pulses behind them has been left out of sight. The
influence which they gained by thus striking in with a
popular movement they still further increased by
their prodigious fertility. The public is always a slow
animal to move; and consequently the influence of a
writer is often in direct proportion to his bulk. This
was preeminently true of the Romans, than whom there
probably never was a nation more pachydermatous
to literary impressions 1 , . "" "

1 It may and perhaps will be said that I hare been unjust
to Ovid in this estimate. If this is so, at any rate, a good deal
more injustice will be required before the balance is redressed.
Ovid has been as much overpraised as Propertius has been
underrated. E.g. the" writer of the notice in Dr Smith's Diet, of
Biography, says, under Ovid, " His views were more ambitious
than his master's whom he was destined to surpass in the
quality, not only of the Muse, but of the mistress he courted " (!)
Dean Merivale, Hist. vol. rv. p. 599, is still more unfair to Pro-
pertius in the comparison which he draws between him and
Horace. It is difficult to read with patience a sentence Jike
this, which would have been resented almost equally by Horace
and Propertius: " The playfulness of the Sabine bard is that of
the lapdog, while the Umbrian reminds us of the pranks of a
clumsier and less tolerated quadruped " (!) Next follows a
passage which has already been referred to (p. xxz) about Pro-
pertius' unsuccessful pursuit of the great. Then the historian
proceeds to allow .that this disappointment is not "wholly
merited." " Although Propertius is often frigid and pedantio in
his sentiments" (his sentiments surely are hardly ever so),
"though he takes his learning from dictionaries" (what diction-
aries?) "and his gallantry from romances" (what romances?)
"and retails at second-hand the flattery of his contemporaries,"
(does this mean that Propertius was actually obliged to borrow
flattering phrases from Virgil, Horace, and other writers?
Surely flattery was in the air and everyone employed its language)
* * there is notwithstanding a strength and sometimes a grandeur
in his language, which would have been more highly relished in
the sterner age of Lucretius. Propertius stands alone among

INTRODUCTION*. lxxxiii

As the view which I have felt it my duty to
take about the respective merits of Ovid, Poetical Zj ._
Tibullus and Propertius may be new. or ties of Proper-
distasteful to some of my readers, I will
endeavour by a few examples to put the higher poeti-
cal qualities of Propertius beyond the reach of cavil.

One of the truest tests of a poetical faculty is the
way in which it seizes a new aspect of a
thing, and thus presents a conception which 5jJJJ*£ na '"*
is felt at once to be both fresh and true.
How much better is this than the hackneyed descrip-
tions of grief?

denique quis curuum nostro te funere uidit,
atram quis lacrimis incaluisse togam?

v. 7. 27, 28.

Does not Vesta's altar-fire burn brighter before the
eyes in a line like this 1

Mart pater et sacrae fatalia lumina Vestae

iv. 3 (4). 11.

Can the utter dissipation of the human body in
the funeral pyre be better hinted than iu the words
of Cornelia?

et sum quod digitis quinque lcuatur onus. v. 11. 14.

Some will prefer his flauo lumine chrysolithos ill.
8 (7). 44 to Gray's beautiful expression * Full many a
gem of purest ray serene* which it probably suggested:

the Roman poets in the force and fervour which he imparts to
elegiac verse : he alone raises the soft and languid pentameter
to the dignity of its heroic consort." (This is just, forcible and
true ; but we soon go back to the old style.) " But it is in the
weight of single lines, and the manly savour of occasional
expressions, that the charm <of this writer is to be found : he
has none of the form of poetical invention, and is alike defi-
cient in sustained majesty, in natural grace and in flowing
rhythm."

lxxxiv INTRODUCTION.

just as they will see that the rest of that fine stanza is
inferior in imagination to Propertius'

et quae sub Tyria concha superbit aqua.

v. 5. 22.

T have already illustrated Propertius' avdacia. It
often produces very fine effects, as

armigera proelia seuit humo. iv. 10 (11). 10.

tibi gloria Dirce
ducitur in multis mortem habitura locis.

iv. 14 (15). 40.

multos pallere colores. i. 16. 39.

atque uni Stygias homini luxisse tenebras. v. 9. 41.

Often his vagueness is absorbed in his imagination;
and we have a wonderfully vivid and graphic picture.
This is how he brings before us the desolation of the
once imperial Yeii

O Yeii ueteres, et uos turn regna fuistis

et uestro positast aurea sella foro.
nunc intra fines pastoris bucina lenti

cantat et in uestris ossibus arua metunt 1 .

v. 10. 27.

Here is a sketch from which a Hogarth might have
painted

lamina sopitos tnrbant elata Qoirites,
omnis et insana semita nocte tonat. v. 8. 59.

The same power is sometimes exhibited less plea-
santly as in the description of the death of Acanthis
from consumption v. 5. 67 sqq. In speaking of his
metaphors, we must remember that the ancient taste
was considerably less exacting with regard to them
than our own, and that many that were fresh when
Propertius wrote have become stale and trite with the
use of two thousand years. When he wrote obductis

1 I think few will read these lines without preferring them
to the more elaborate description in Virgil G. 1. 493 sqq.

IN TROD UCTION. lxxr?

tsommittam mene tenebris? iv. 15 (16). 5, he really felt
that the curtain of the dark was drawn over the
world ; when he describes his native town as scandentes
de uallibus arces v. 1. 65, his poetical sight did not
merely see it placed on the side of the heights, but fol-
lowed it as it climbed up them. Yet we can still
appreciate the lines in which he compares the way in
which human lives loose hold of their pleasures and
drop silently into the death below, to the rose-leaves
falling from the wreaths of the banqueters into their
wine-cups, in. 7 (6). 51 — 54, or in which he compares
the utter exhaustion of Antiope to the weary wash of
the sea upon the shore when the storm is over.

ac ueluti, magnos cum pontmt aequora motus,

Eurus ubi aduerso desinit ire Noto,
litore sic tocito sonitus rarescit harenae,

sic cadit inflexo lapsa puella genu.

iv. 14 (15). 33 sqq.

Sometimes he touches heights which hardly any
one else has reached. Witness the noble
metaphor of in. 1. 21 sqq. sublimit*.

ut, caput in magnis ubi non est tangere signis,

ponitur hie imos ante corona pedes,
sic nos nunc, inopes laudis conscendere carmen,

pauperibus sacris uilia tora damus.

The following attains an almost Hebrew sublimity,

uertite equum, Danai ; male uincitis. Ilia tellus
uiuet, et huio cineri Iuppiter arma dabit x . v. 1. 54.

But perhaps after all it is in less ambitious regions
that he most excels. His softness of out-
line, his warmth of colouring, his lore of £2u2J?** >r
beauty in itself, his pleading and often
melancholy tenderness, are most suited to passages of

1 Here again I think Propertius has surpassed Virgil in
imagination. Compare Aen. 4. 625 exoriare aliquis nostris ex
ossibus ultor.

p. p. g

Ixxxfi WTBODUCTIOW.

quiet description and emotion. The expression of
these feelings will often redeem a passage from being
eold and prosaic by the merest touch. Thus I. 18. 12
non altera nostro limine formosos intulit ulla pedes,
IV. 14(15). 13 a quotiens pulchros ussit regina capillos,
id. v. 9 nee femina post te ulla dedit collo dulcia
uincla meo 1 .

I may be excused giving two pictures of still
beauty, one in illustration of the peace of old age, and
the other of the resting of death. The first noteworthy
for feeling and felicity of expression, the second for
imagination as well. The first is :

putris et in uacua requiescit nauis harena
et uetus in templo beliica parma uacat.

m. 20 (17). 7.

In the second he bids Cynthia bury him away from
the ceaseless tramp of the crowd, in some sequestered
woodland where the trees may shower their leaves
upon him, or under a mound heaped up in some un-i
traversed plain.

di faciant mea ne terra locet ossa frequenti,

qua facit assiduo tramite uolgus iter,
post mortem tumuli sic infamantur amautum ;

me tegat arborea deuia terra coma
aut humer ignotae cumulis uallatus harenae.

non iuuat in media nomen habere uia.

rv. 15 (16). 25.

Occasionally he shews a vein of humour which we

1 Propertius* feeling for colour and perfume is almost
voluptuous. I have mentioned the ' chrysolite's yellow ray.'
Compare also i. 20. 38 white lilies and red poppies, n. 3. 10—
12 white lilies, Scythian snows, Spanish cinnabar, rose-leaves
swimming in milk, iv. 12 (13). 28 sqq. scarlet rubi, violets,
lilies shining through baskets, a bird with variegated plumage
and changing colours, and elsewhere. Compare note on p. xx,
supra. His love of perfume comes out in expressions like
v. 6. 5 costum molle date et blandos mini turis honored
iv. 9 (10). 22 et crocino nares murreus ungat onyx.

if

INTRODUCTION*. lxxxvii

should not have expected; as in the descriptions of the
disconsolate lover's woes (i. 16), of Cyn-
thia's anger (v. 8), of his own lack of cour-
age (in. 12 (10). 21) and of Hercules' perplexity in his
thirst (v. 9).

But it will be said, that all this only proves that
there are some jewels of thought and diction scattered
through the works of Propertius ; and it will be assert-
ed, as it has been asserted before, that this is all the
excellence of which he is capable. This is prima
fade plausible. For, as I have said above, Propertius
is essentially unequal ; and even in the best of his
poems there occurs much that we should gladly see
altered or removed. And hence it has happened, not
only in ancient, but also in modern times, that some
have assigned him a poetical position below that of
Tibullus and of Ovid ; just as some minds, and pro-
bably more than is suspected, find the rugged mountain
torrent less attractive than the rippling village brook
and even than the dead level of a canal. And yet the
judgment is really unfair. Propertius often maintains
a high general excellence for long passages and whole
poems at a time. In the tender style I may men-
tion among many i. xiv., xvii. Book iv. ix. (x.) on
Cynthia's birthday is a perfect gem: and in. xxviL
(xxi.), Propertius' encounter with the Cupids, is not
much inferior. The love of Tarpeia is veiy finely
painted (v. vi.). The description of Antiope's perse-
cution and her escape and revenge can hardly be im-
proved, iv. xiv. (xv.). In a higher style is iv. x. (xi.)
which expresses the national indignation against Cleo-
patra. The description of the battle of Actium (v. vi.)
niay well compare with that of Virgil. Fancy and
humour have rarely been so well combined as in v. ix. ;
the description in w. 27 sqq. always reminds me of
the faerie Queene.

g2

hacxviii INTRODUCTION.

I will allow myself the pleasure of appending a
version of iil iii by Elton, who is the most ,-. „ r ..

!>**■*■%* y t> t\ nook III. tltgi

successful of all the translators of Fro- «*.
pertius 1 .

Had he not hands of rare device, whoe'er

First painted Love in figure of a boy?
He saw what thoughtless beings lovers were,

Who blessings lose, whilst lightest cares employ.

Nor added he those airy wings in vain
And bade o'er human hearts the godhead fly;

For we are tost npon a wavering main ;
Our gale inconstant veers around the sky.

Nor without cause he grasps those barbed darts,
The Cretan quiver o'er his shoulder east;

Ere we suspect a foe, he strikes our hearts ;
And those inflicted wounds for ever last.

For me are fixed those arrows in my breast;

But sure his wings are shorn, the boy remains.
For never takes he flight nor knows he rest;

Still, still I feel him waning through my veins.

In these dry vitals dost thou joy to dwell?

Oh shame! to others let thy arrows flee;
Let veins untouched with all thy venom swell;

Not me thou torturest, but the shade of me.

Destroy me — who shall then describe the fair?

This my light Muse to thee high glory brings:
When the nymph's tapering fingers, flowing hair,

And eyes of jet and gliding feet she sings.

1 I have made some slight alterations in order to make it
correspond better with Propertras' meaning. But a divergencr
or two remain.

CHAPTER IIL

GRAMMAR AND VOCABULARY.

I have already said that Greek literature exerted
a general influence upon his style : and ^^

how he sought to attain its symmetry of
form by adopting and developing the devices of ar-
rangement which first appear in the Alex- „ . a . M
andrme elegiac poets. The same leaning to
the Greek is seen in his accumulation of several adjec-
tives upon a single substantive ; see below, p. cv.
This grata neglegentia might also be explained by
Propertius' love for the archaic, as such concurrences
are not avoided by Catullus and Lucretius, were
it not for the fact that he seems actually to have
cultivated them. Allied to this is his accumulation
of similar endings, especially in the case of short
vowels, d, &c, notably at the end of a pentameter
in. 20 (17). 48 femina multa mala, in. 25. 12 (20.
46) longa pericla sua, Y. 1. 132 libera sumpta toga,
v. 11. 59 sua nata dignum (Ovid would without doubt
have written dignum nata).

To come to more obvious imitations, he has a good
number of borrowed Greek words, e.g.
ephemeris, cerastes, pyropus, crotalistria, ^firS?"*
conopium, baris, hippoma7ies, trochus, gym-
nasium, cataphraotus, croctnum.

xe INTRODUCTION.

There are also some expressions which the Greek
have suggested, e.g. pennis, 'omens' =
*T€pofc iv. 9 (10). 11, leetus* wife' n. 6.23, ^SS^^S.
in numero ivapCOfiuos in. 26. 9 (20. 55)
(nvJtto (in) numero is however common Latin).

Besides tolerably common Greek constructions,
Fropertins has est quibus Zariv ok rv. 8 (9).
17, est cui in iv. 10 (11). 64 is less strange, jjJJJ* *****
though in ordinary Latin the qui is rarely
put in an oblique case; foederis heu taciti v. 7.
21 = <fy€v c. gen. in is used like Greek cc? in il 9.
12 appositum fluuiis in Simoenta uadis, c£ iv. 24. 19
tua me in sacraria dono. In n. 3. 45 (4. 1) ut uerear
= otrcD? c. subj. See also iu. 5. 22 note.

In a very considerable number of cases Propertius
uses a word with a sense or in a form J i reka i tmSt9c
which is not found in his immediate con-
temporaries. The number of these usages is greater
than it would otherwise have been owing to the ety-
mological bias of which I have spoken, p. lvi note.

Words used in an archaic or etymological sense :

sedulus (prob.) ' resting on' l 3. 32.

desidia ' sitting at the toilet' I. 15. 6.

fvlcire 'press' I. 8. 7.

fauilla 'spark, glow' (metaph.),i. 9. 18.

dissidere 'to lie apart from' i. 12. 4.

eleuare 'raise up' i. 8. 12 n.
JiuuiuB adj. 'flowing' il 9. 12.

iner8= sine arte m. 30 (24). 20.

twrba ' commotion' (lit.) iv. 2 (3). 24.

quod sin iv. 5 (6). 41.

insinuate ' to take into the bosom ' iv. 8 (9). 28.

apricus ' open' v. 10. 18.

impurus in a literal sense v. 8. 22.

ooncumbere ' to lie down in a multitude 'v. 1. 4.

concubitus = discubitus v. 8. 36.

INTRODUCTION. xci

intepere v. 1. 124.

uelificare ) in literal sense rwre v. 9. 6, in 25. 6

uelificari f (20. 40 1 ).

Forms of words :
Verbs :

comitarerd act. il. 7. 15.
meretur pass. n. 30 (24). 22.
conspicer pass. v. 4. 34.
ter$r# v. 8. 84.
consuemus ? pres. i. 7. 5. '
lenibunt fut. I v. 21. 32*
iu&rint for iimerint in. 17 (14). 22.
nexisti perf. iv. 7 (8). 37.
sueuit v. 10. 17.

Nouns, <fcc.

clatra = KX-fjOpa v. 5. 74.

insomnia plur. 'sleeplessness' in. 20. (17). 47-

sertae in. 31 (25). 37.

exuuio abl. of exuuiumv. 10. 6.

w£ for ne n. 7. 3.

#Zt for Uliu8 v. 10. 43.

nuUae ) foj , the formg ^ ^ gee L 2Q 35 . Jy 10

*** f (11). 57; ii. 1.47.

roridu8 = roscidus, perh. provincial v. 4. 48.

His genders are sometimes archaic : e.g. puluis
sndjinis are common., and colttf masc.

There are one or two surprising apparent instances
of resolution of a word into its elements, in. 28 (22).
11 et iam, si pecces, deus exorabilis illest; I. 3. 37 if

1 The same tendency to regard the primitive meaning of
words is seen in Medeae aequacis v. 5. 41, herbae tenaces of the
lotus, the * binding' weed, iv. 11 (12). 27. Of course this
list does not include all words which do not occur till Proper?
tins; e.g. adsesstt, mentyrator, seuecta est.

xoii INTRODUCTION'.

Kuttner is right in taking rwmque ubi for ubinam.
So we may add in. 10 (9). 10 quam prius and in. 20
(17). 25 prius... quam ante where observe the doubling.
There are also some archaistic constructions which
will be found in their place.

The number of proper names in Propertius is very
large, and they have been gathered from
all quarters. They had a strange at- € P ernanu *'
tractiveness for him as they have had for many other
poets, amongst whom we at once think of Milton and
Scott He does not however use them with the same
fine effect as these writers.

Two things are noteworthy about their use ; (1) the
way in which he accumulates them to- A
gether, and (2) his habit of putting proper **"»«" < ~
names side by side in a sort of imaginary antithesis,
especially in the pentameter. Both are
illustrated by n. 1. 59 sqq., iv. 13 (14). 13 ******
sqq., 22. 1 — 37. For (2) I may quote n. 1. 54
ColcJiis Iolchiacis urat aena focis, i. 6. 32 Lydia
Pactoli tingit arata liquor, iv. 12 (13). 54 Galliea Par-
nasus sparsit in arma niues, id. 16 (17). 30 cdnget
Bassaricas Lydia mitra comas, id. 4 (5). 17 Lydus
Dulichio non distat Croesus ab Iro. The recognition
of this principle makes our way clearer in several
passages, v. 11. 30 Afra Numantinos regna loquontur
auos, m. 5. 32 (4. 48) Gallicus Iliads miles in ag-
geribus, iv. 6 (7). 22 qua notat Aryynni poena Miman-
tis aquas.

Fond as he is of proper names, he does not treat
them very ceremoniously. At the bid-
ding of metre he cuts them down with-
out mercy. This is especially the case with adjec-
tives. Hence we have AsmiHa raids, Pompeia mami,
TtUiae turmae, Horatia pila ; Jiomula uincla ; Inch
formica, Pkaeaeas siluas, Aniema unda (Aniensis in
prose), Partka tellus, Dor* poeta, Anio Tiburm,

INTRODUCTION xciii

Athamana litora (the proper adj. would be -ia or -tea) ;
probably also animi Deri, and Hylaei rami (for Hy-
laeii). Still more surprising are Baiae aquae and
Cutrios fratres (= Guriatios 1 ). Arganthos (for Argan-
thone i. 20. 33) has some Greek authority ; see note.

His declension of Greek names shews some uncer-
tainty. In the feminines we usually have
Greek forms preferred where they are found
in Latin usage. Thus we have Nom. -e, Niobe, Nesaee,
sometimes -a, Ariadna, once Electrd. Gen. -es, sometimes
-ae,Pagasae. Dat. always -ae. Aoc. -am and -en. So in the
masc. we have both -m and ~n in the Aoc. e. g. Persem,
AchUlem, Parim and even Adonem, Euphrates, Daph-
nin ; in the Nom. -es or -a*, once -d A tridd. In the third
declension Gen. fern, is always -08 Tanialidos, Pal-
lados, Ac. ; so sometimes Gen. masc. except where o
precedes, Myos, but Minds. In masculines in -eus
the Gen. is -H or -afo; Capanei, Pentheos. The Ace.
is -d (sing.) and -a* (plur.) for both genders Sal-
monida, Pana; Tyndaridas, Phaeacas; and -sin in
the Dat. plur. Hamadryasin. Noteworthy forms are
Panes, Argon (ace. feni. of Argo), Menandre voo. IV,
21. 28. Add beryllon.

SYNTAX.

Propertiu8 , syntax is very peculiar. Sometimes
it may be called ud -Latin and sometimes ultra-Latin.
In other words, it sometimes shews the effect of foreign
influences and sometimes a genuine Latin tendency
pushed to its extreme.

I shall touch briefly upon some main points 9 .

1 There are somewhat similar shortenings in carbata Una
and praetexto senatu.

3 X must again ask leave to point ont that here, as else-
where in this Introduction, my treatment is intended to be
illustrative rather than exhaustive,, and that my object, ia

xdr INTRODUCTION.

Nouns.

■

One of the most common and characteristic idioms
is his predicative use of nouns. For ex-
ample, he does not say 'the ' chaste Tar- . ouns '
peia' but ' the chastity of Tarpeia* (i. 16. 2). This is
a sort of converse to the predicative use of
the participle (or adjective) 1 : thus mortuus E^i^H^"*
Caesar omnia perturbauit 'the death of
Caesar threw all into confusion* : but Caesaris mors
in foro iacebat (cf. in. 5. 6 n.) ' Caesar, when dead
(the dead body of C), lay in the forum.' It is, without
doubt, a native Latin idiom, though it is also found in
(Jreek, It appears e.g. in Cicero, fontium perennitates
* the everlasting fountain flows/ — the 'fountains ever-
lastingly flowing' : cf. Potts' Lat. Prose, p. 39. But
Propertius pushes it far beyond its ordinary
range. It is only used, as a rule, where the JjJ^ 1 * **
leading idea is that contained in the princi-
pal noun, and where the form of the rest of the sentence
is accommodated to that idea. It is not used as a mere
periphrasis or conversion of the ordinary expression,
irrespective of the context, which is the Propertian use.
Cicero says he does not fear the sleepiness of Len-
tulus (Lentuli somnum), Catullus has talis isto meus
stupor nil uidet. In both these cases the adoption of
the form is appropriate, as it is the quality in the
man that is emphasized. But Propertius would have
ventured on iste stupor periit 'your besotted lover is
dead,' though the idea in the noun has nothing to do

general, is to give a statement of what is found in Propertius
himself not to bring his usages into relation with those of all
other Latin writers.

1 This predicative use of the part, is also common in Prop. v.
4. 41 prodita quid minim fraterni cornua monstri?, n. 7. 6 note.
Bo rr. S3. 40 hie tibi pro digma geute petendus honos (pro dig-
nitate gentis), it. 18 (19). 4 nesoitis capiat mentis habere
ttodum (sc insaniae), Ac-

IN TROD UCTIOffi. xcr

with tbat in the verb. Compare iv. 18 (19). 15
patria sucoensa senecta 'her aged father/ in. 8 (7). 52
fulminis ira cadit (fulroen iratuni) i the angry thunder-
bolt/ in. 13 (11). 31 mea poena (ego punitus) 'I iii
my punishment ' (pronouns are very frequent in this
use), iv. 2 (3). 17 pyramidnm sumptus 'the costly

?y rounds' and many more : see the commentary and
lertzb. pp. 149 sqq. 1

Closely allied to this substitution of an abstract
state or quality as manifested in a particular example
for the concrete example which manifests it, is the
substitution of some special characteristic of a thing
or a person for that which it character-
izes. Inis diners from the preceding, as j r thing cka-
one concrete thing is a substitute for racUrixed '
another, not an abstract for a concrete ; though it
is not always easy to distinguish between them.

Examples are Arionia lyra (in. 21 (18). 18 where
see note) = Arion lyristes, probably pila Sabina v. 4«
12 = Sabini pilati, oven tibia rauca = raucus tibicen
iv. 9 (10). 23.

Some pregnant uses of single nouns now call for
attention, which are also quite in keeping
with the Roman genius. Thus we have fS^SHSS.^
8uperciliis l gestures of the eyebrows ' iv.
7 (8). 25, in/acem ' to the likeness of a torch ' v. 6.
30, patera ' by libations from the patera * v. 6. 85,
perhaps ueste* 'by the slielter of her robe* v. 1. 118,:
niello (sub) limine, &c, ' under no amount of waiting
at the threshold* in. 20 (17). 17. See more above, p.
lxi As in other writers, a feeling or state is put
for its cause; discordia 'source of discord' I. 2. 17,
picti metus v. 6. 50.

1 The simple use of abstracts for concretes like caedes for
4 blood ' ii. 8. 34 (cl. i. 5. 26) is not common in Propertius.
3 This may be abl. after aueJXi.

xcTi INTRODUCTION.

His use of apposition is more than usually free.
Sometimes we have as many as three AmoMi£im ,
nouns in apposition to each other, e.g. 11.
3. 14 non oculi, geminae, sidera nostra, faces; or the
collocations are in other respects unusual. I. 19. 13
formosae ueniant, chorus, heroinae, n. 1. 21 Pergama
nonien Homeri, v. 8. 24 armillatos, colla Molossa,
canes, &c. Appositions to the idea of a whole sen-
tence occur as in other writers, see iv. 2 (3). 4 and note.
The most remarkable is v. 6. 64 hoc unum iusso non
moritura die (and note). See also the remarks on his
use of the Nom.

His fondness for verbals in -tor may be mentioned
as a point in which he resembles Livy. ^^

Thus we have mirator sum = miror (cf.
horum ego sum nates = haec ego uaticinor) ; also
raptor, memorator (aira£ Aeyo/icvov), corrupter, ser-
uator, <fea amator is once used most strangely for
amare (or for amator esse) in. 13 (11). 35 amator
desisto.

He frequently uses the plur. for the sing. Some-
times this is due to his love of the indefi- ^^
nite, the plural giving a choice where the
singular would specify ; partly it is an artifice which
all poets use on the principle of omne
ignotum pro magnifico, the pluralis mag- g^f^ * *"
nificentiae and the plural of emphasis, (a)
and (6), which creates the impression of there being
more than there really is. (c) In some cases the plural
indicates a series of things, (d) Li a few instances it
is due to the convenience of the metre.

A good example of (a) is rv. 10 (11). 61 Curtios
expletis statuit monumenta lacunis. So defessis uiris
(of Hercules only) v. 9. 34. Compare note on il 7.

15.

(6) is used for various sorts of emphasis: die alias
nauiget IUyria* ill 8 (7). 10, tantis minis (partly

JNTRODVCTION. xcvii

(c) ), iv, 12 (13). 3, guttura $ecta v. 5. 66, cumulis iv.
15^ (16). 29. Compare uestes n. 5. 21, harundinibvs
m. 32 (26). 68.

(c) libidines 'debauches' in. 8 (7). 14, spatia an-
norum aut longa interualla profundi iv. 21. 31 (the
imagination refuses to take them all in at once).

\d) esseda it. 1. 76 is clearly metrical; so pro-
bably nomina v. 2. 50. cutes v. 5. 64 is very re-
markable.

The sing, for the plur. is not nearly so common.
It is usually found where a collection of
things does not differ much in appearance &$$?* * w
from the individuals in it, or in the case of
objects which are generally seen together, e. g. rosa.
But the following are worth mentioning, uersu in. 32
(26). 93 \ hora iv. 9 (10). 29, angue iv. 4 (5). 40.

Nom. We may note a use of the worn, as predicate
where prose writers would have avoided
the noun or possibly used the dative;
e.g. I. 14. 18 solet duris mentibus esse dolor, n. 4. 15
cuinon ego sum . . .praemid* (plural = ' source Nominative
of profits'), v. 1 1. 43 non fuit exuuiis tantis and Vocative.
Cornelia damnum. So also with the infin. ; see below 8 .

Voc. As Propertius is very fond of apostro-
phizing the things or persons that he is speaking of,
the voc. occurs frequently in his writings, sometimes
very strangely as iv. 10 (11). 67 nunc ubi Scipiadae
classes et signa Camilli et modo Pompeia Bospore
capta manu, iv. 18 (19). 17sqq. nam quid Medeae
referam quo tempore matris iram natorum caede
piauit amor?... tuque, o Minoa uenumdata Scylla
figura. Sometimes a predicate or epithet is attracted

1 So probably in i. 9. 11, though another explanation has
been given in the note there.

8 In prose the sing, would of course be used.
* Pagecxv.

kcviii INTRODUCTION.

into agreement with it iv. 22. 33 nee tremis Ausonias,
Phoebe fugate, dapes ; though it is doubtful whether
this will justify I. 8. 19, where see note.

Ace. Notice (i) an extension of the cognate ace.
i. 15. 39 multos pallere culores, in. 13
(11). 8 lacrimas defluit, in. 32 (26). 25 AccutaUve -
seros insanit amores, v. 1. 134 uerba tonare, v. 9. 13
furem sonuere; (ii) of that of the part concerned in.
32 (26). 48 cornua quam ualidis haeserit in laqueis,
with the pass, in. 8 (7). 24 Candida tarn foedo bracchia
fusa (f.) uiro, with another ace. in. 13(11). 9 me
licet aeratis astringunt bracchia nodis, and with a
stretch of the conception uerba leuis n. 5. 28; (iii) of
place towards and adj. with domum I. 19. 10, &c., and
domos iv. 10 (11). 12. (v) Also after the following
adverbs : — comminus (with ire) in. 12» (10). 22 agrestes
comminus ire sues, ulterius (archaic) I. 6. 4 ; and with
the following verbs aemutor m. 32 (26). 19, degenero
appy. 'to make degener f v. 1. 79. flagro, ordior also
take the ace. licet with an inf., esse, <fcc., always takes
an ace. in Propertius against Roby's rule Lat. Gr.
1357 and note.

. Dat. Notice (i) the dat. for ad with ace. I. 15. 8
nouo quae parat ire uiro, in. 31 (25). 41 nulla tamen
lecto recipit se, I. 20. 32 ibat Hamadrya-
sin; with ferre in. 12 (10). 13, v. 3. 71;
for in or sub with ace. v. 1. 148 armatis hostis
inermis eas, iv. 3 (4). 5 Ausoniis ueniet provincia
uirgis. (ii) There are some unusual predicative
datives, though, as already said, Prop, frequently has
the nom. in this use; pallori esse n. 5. 30, inuidiae
esse 'to be the victim of the evil eye' i. 12. 9, tecto
esse in. 22. 11 (18. -31), exemplo ponere n. 3. 42,
poenae est with inf. (unless this be a gen.) iv. 5 (6).
20. natiuo creuerat herba toro iv. 12 (13). 36 may .W
a dat. ; it is however more likely to be a disjunctive use
of the abl. (iii) Dat. of personal reference {dot. commodi)

s

INTRODUCTION. xcix

after adjectives mollis (lacrimis) iv. 14 (15). 29, lentus
(ploranti) in. 6 (5). 14, taciturna (querenti) I. 18. 1,
qualiscumque (mini) iv. 21. 16. (iv) A few instances
of dak with passive in. 32 (26). 58, iv. 6 (7). 62. (v)
Some of the dat. of personal appeal (cf. supra, p. xxxviiL);
e.g. tibi 'look you,' 'think you/ in. 18 (15). 10 num
tibi causa leuia, I. 5. 8 n. <fcc. (vi) The following are
especially noteworthy; in. 15 (13). 25 Alcmenae
requiescere (for cum A.), i. 10. 21 pugnare puellae (for
cum p.), iv. 1. 20 faciet capiti (for ad c.) (cf. factus
amori Y. 5. 49), iv. 5 (6). 30 uitta cincta uiro (as if r ~ ; ^
drcumdata). For the gen. (with causa) in. 12 (li$\\ / ".
10 fanaque peccatis plurima causa tuis. iV> "

Gen. (i) Propertius uses the gen. after nouns fill; a
rery remarkable way. The connexion be- „ ,.\v-it -■ ■■<:-' ;
tween the governed and governing noun is 'vvV^i <-

often very remote. Thus iv. 3 (4). 17 telafugacis eqyfy , \- : K
'launched from the horse,' n. 4. 20 tarn parui litoris LJ^
unda 'that rolls on so small a shore/ v. 9. 33 luoi
sacro antro 'a wooded dell/ n. 1. 9 lyrae carmen 'a
song on the harp' 1 ; v. 7. 69 mortis lacrimis i after
death'... uitae amores ' during life/ I. 20. 18 uia Phasi-
dos Ho Phasis/ in. 5. 29 (4. 45) tarn dubiae spiritus
horae (see note), and compare iv. 13 (14). 26 longae
repulsa morae 'lasting over or causing a long delay'
with which contrast v. 8. 4 tarn rarae hora morae
'spent in delay/ n. 1. 28 Siculae classica helhi fugae 'in
which the Sicilian rout took place.' (ii) Sometimes
the gen. is used after a noun, where we should expect
something depending on the verb; v. 1. 101 Iunonis
facito uotum impetrabile, I. 15. 1 multa tuae leuitatis

1 But in. 1. 23 laudis carmen * a song deserved by merit.'
The rule in Boby Lat, Gr. 1308 that the 'gen. of quality or
description is always used with an adjective ' is not true of
Propertius, unless indeed the term is to be much more limited
than it is with him. Hence in tientorum mortem, my conjec-
ture in zv. 10 (11). 5, the gen. need be no difficulty.

c INTRODUCTION.

dura timebam. This reminds us of the Greek trage-
dians, (iii) v. 10. 24 uincere cum Yeios posse laboru
trot (= laboriosum) is a predicative use which is worth
attention, (iv) The Greek genitive in exclamation
has been already noticed, (v) The gen. after adjec-
tives is very rare; I. 16. 2 is an instance.

A bl. Propertius' use of the ablative is characteristic,
(i) His fondness for the ablative abso-
lute, as it is called, or ablative of atten-
dant circumstances is especially noteworthy, as it
shews very clearly his proclivities towards what
is vague. It is often employed where we should
expect other constructions, (a) Gen. in. 5. 3 (4.
19), id. 7 (23) n., i. 4. 13 multis decus artibus,
in. 18 (15). 12 manibu8 dura frigus habere pila,
iv. 23. 3 nostris manibus quondam detriuerat usus,
v. 3. 63 ascensis gloria Hariris, dec., (b) dot. (or
prep, with ace) I. 18. 12 non altera nostro limine
formosos intulit ulla pedes, iv. 10 (11). 40 Phi-
lippeo sanguine adusta nota, iv. 5 (6). 24 insultet
morte mea. (c) A preposition with a case; L 14. 1
abiectus Tiberina molliter unda (ad u.), ill. 5. 39 (4.
55 n.), in. 32 (26). 92 inferna uolnera fleuit aqua (so we
should read for MS. lauit) : L 14. 2 Mentoreo uina bibas
opere (ex o.). (d) It is often used where its connexion
with the main idea of the sentence is far from ob-
vious, and the expression becomes cramped and
obscure. Thus rv. 22. 13 Argoa natat inter saxa
oolwmba pinus (which Hertzb. resolves 'cum Argoa
oolumba adesset' 1 ), i. 19. 19 quae tu uiua mea possis
sentire JauiUa 'when I am ashes' (for the use of the

1 Several of these ablatives are susceptible of various expla-
nations according to the context. Thus Argoa columba might
be taken as an extended abL of the instrument, • through the
instrumentality of the dove.' This must happen, when the
construction used is so loose that we have no clue to the
writer's intention.

INTRODUCTION. ci

noun see above), y. 4. 60 palla foedus inite mea Sunder
the auspices of my bridal robes/ IV. 16 (17). 21 mater-
nos Aeinaeo fulmine partus 'when the thunderbolt was
raging,' V. 11. 96 prole mea Faullum sic iuuet esse
senem 'through my offspring being what they are.'
So in v. 1. 56 quaHa creuerunt moenia lacte tuo we
can merely flay that the abl. is connected with the
sentence. It may seem futile in the face of examples
like these to attempt any further classification. How-
ever I will give an example or two of apparent exten-
sions of other special usages of the abl. in Fropertius.
(ii) AbL of respect ('thing in point of which') n. 8. 39
inferior multo uel matre uel armis. He uses the adj.
with an abl., where a prose writer would put the adj.
into agreement with the abl. and another poet would
generally use the ace. ; e. g. i. 20. 5 nomine dispar, v. 8.
52 operosa comis* (in) AbL after words denoting
lack of anything; v. 5. 59 rugis integer, v. 10. 12
sanguine sicca, (iv) Abl. of instrument-, iv. 3 (4). 16
titulis oppida capta legam (where place is also instru-
ment), I. 14. 4 funibus ire rates, (v) AbL' of cause)
in. 32 (26). 52 fratemis Luna laboret equis, i.e. by
their absence, (vi) Abl. of description; iv. 11 (12). 23
miranda coniuge Vlixes, n. 1. 76 esseda caelatis iugis,
in. 31 (25). 15 fuscis Aegyptus alumnis, i. 14, 22
uariis Serica textUibus. (vii) Abl. of motion from; in.
30 (24). 14 flumina sopito quaeque Anione cadunt, i.
15. 29 multa prius uasto labentur flumina ponto (where
the ambiguity is very harsh), (viii) Abl. of origin ; iv.
6 (7). 67 aequoreae Nereo genitore puellae, n. 6. 16
his Troiana uides funera principiis 1 .

Propertius never avoids the close concurrence of
ablatives in the same sentence. Thus I. 1 8.
15, 1G tua flendo lumina deiectis turpia 2B5S* " ° f
sint, lacrimis, i. 16. fin. n., iy. 6 (7). 19,

1 More exx. in Hertzberg, p. 135 sqq., from whom some of
the above have been taken.

P. P. h

eii „ INTRODUCTION.

20, r. 10- 46 omine quod certo dux ferit ense
ducem.

Adjective:

The first thing which strikes us is his very bold use
of hypallage. Hypallage, or the construe- AiieeU9am
tion of an epithet with a noun to which it
does not properly apply, is a relic of an early stage of
language. Not to speak of cases where HmaBaatm
it is due to irrational attraction by adja-
cent words, which of course become rarer as language
is improved and thought obtains a greater mastery
over its materials, hypallage is due to a certain inde-
nniteneus in the conception. An attribute which
should properly only qualify a single noun is allowed
a wider influence, so that it still qualifies that noun,
but qualifies it indirectly while directly qualifying the
word on which that noun depends. We thus get it
exerting its influence over a bracket, as it were. Thus
we have 'the wandering [shelter of a river]' uago
[fluminis hospitio] i. 20. 10 instead of 'the shelter of
a wandering river/ uagi fluminis hospitio. This
liberty of placing two words in agreement which are
not directly connected, is restricted by a rule which is
already indicated in what I have said. So far as I
know, it has not yet been pointed out, though its
rationale is pretty clear. The range of an epithet may
be extended, but it must not be confined The reader
may be allowed a choice, and. the sense required may
be trusted to guide him right in that choice. But he
cannot be expected to spread a meaning which the
writer has limited to a special point over the rest of
its context. Thus we find in almost all cases, certainly
in all that I know in Propertius, either (a) an adj.
which should go with a gen. agreeing with the noun
that governs it, not vice versa, or (6) an adj., which

INTRODUCTION. ciii

should agree with the subject of the sentence (or some
prominent noun in it), agreeing with some noun that
is in close connexion with it. The usage is more or
less harsh, precisely as the words thus put into agree-
ment are unsuitable or suited to each other. Thus iv.
10 (11). 11 (a) feros serpentis hiatus is, as Hertzb.
well remarks, not at all harsh, as 'savageness' is natu-
rally connected with the open ravening jaws. Not so
in. 17 (14). 22 (a) furta pvdica tori (for pudici):
for the furta are not pudica. That this licence would
be frequent in Propertius will be obvious to any one
who has considered the tendencies on which I have
insisted; and who remembers that this predisposition
to the use would be strengthened by his k>ve and
knowledge of Greek literature in which it is far com-
moner than in Latin. I add a few more examples,
(a) iv. 21. 28 librorumque tuos, docte Menandre,
sales {tuorum), iv. 6 (7). 52 miser (for miseri), I. 13.
10 multarum miseras exiget una uices (for multarum
miserarum ; the harshness is softened by the fact
that the retribution itself brings misery), (b) I. 3. 9
ebria cum traherem uestigia (for ebrius), i. 16. 40
oscula mxa dedi (harsh for niocus), n. 5. 21 periuro
(note).

Sometimes an adjective used substantively is put
into agreement with the noun that governs it; e.g.
l 16. 4 lacrimis supplicibus; cf. i. 20. 30 uolucres
insidiae, iv. 6 (7). 10 cognati rogi where see
notes.

This is also the case where the substantive and
adjective are only typically related, and AdJectiv€S /or
where we should use an abstract noun in nouns in gmt-
place of the adj.; iv. 6 (7). 32 miseras uias ttWt
1 roads to misery,' v. 6. 62 libera signa 'standards of
freedom' (where see note), in. 30 (24). 21 famae
ptcdicae 'reputation for chastity.' So also probably
it. 3. 48 ebria signa.

civ INTRODUCTION.

Derivative adjectives are sometimes loosely used;
rota staminea 'to which a stamen is fas-
tened' iv. 5 (6). 26, ratis pampinea 'vine f£j™\ ive "*'
wreathed* iv. 16 (17). 26, uirgineus 'car-
ried by maidens' urnut n. 1. 67, calcUJws iv. 12 (13).
30, ramosa arua 'overshadowed with boughs' v. 7. 81,
Jiarenosum antrum 'surrounded by sands' v. 1. 103,
paludosus 'dwelling in marshes' v. 6. 77. I have not
noted commoner uses, e.g. auratue 'ornamented with
gold.'

Adjectives are sometimes found where we might
expect participle*, in a way that reminds . _. _.
us of Lavy. This use is nearly allied to and participle,
jrrolepsis. Thus we have I. 20. 41 » far- **<*»**'
mosie undis now beautiful, 'beautified,' ib. v. 22 n.
molUa ( = mollita), rv. 8 (9). 50 firma (c=nrmata), i.
16. 22 tepido limine (=tepefacto) n., rv. 2 (3). 12
tuhim (=seruatum), iv. 13 (14). 30 nee digitum an-
guxtast inseruisse uia 'so crowded, narrowed is the
way,' v. 7. 27 euruum ( = curuatum). We have still
clearer proleptdc uses in l 11. 16 labi perfida 'fall
away into treachery,' ul 12 (10). 26 nitteos abluit
unda boues 'washes them white,' rv. 7 (8). 15 timidam
dementia somnia terrent 'till she becomes timid,' v.
4. 8 Jicfaque suggesta castra coronat humo 'so as to be
,/i<fa.' A few participles are used where we might
expect adjectives; iv. 16 (17). 29 laxatis corymbis, iv.
.5. 11 cdatis annis, v. 11. 4 nan exorato adamante.

The use of an adj., where the notion to be conveyed
is what we should call more or less adver- Fm . ad9 ^ rtt ,
bialy is a well-known Latin idiom. Pro-
liertius has some noteworthy examples; L 6. 12 lentu*
auiare, iv. 23. 23 cite* propone, t. 3. 22 aeternus
p&se&t* and probably in. 20 (17). 31 semper sua
maxima cuique uerba nocere solent (for maximc),

1 Ko corresponding paztieqple.

INTRODUCTION. cv

i. 16. 12ru For the converse use of adverbs see
below.

Several neuter adjectives (and participles) as nouns.
arata i. 6. 32, stanUa v. 5. 12, data iv.
14 (15). 6 nullis datis (also in Plautus, %%mveV "*■
Ov.), textilia i. 14. 22 (Plin., Cic. in sing.),
texta (Ov.), dura, cupera, &c. Note piano v. 10. 36
without a prepn. omnia is very common, and it is
sometimes hard to tell whether it or the word in
agreement is the subst.; see p. lxvi., note. We may
add v. 9. 35 circa sonantia lymphis and uanum for
uanitas.

Propertius nearly always has the superlative in
the sense of 'very' not of 'most': i.e. in

.. *• . % . .. i .. . Superlative.

its 'intensive not its 'comparative' use.

He follows the Greeks in putting several adjec-
tives (participles or pronouns) into con-
struction with one noun. This is avoided ^rSSSSS"
by Latin writers as a rule, especially where
the inflexions are the same, n. 2. 3, 4 cur haec in
terris facies humana moratur? Iuppiter, ignoro pris-
tina furta tual n. 7. 9, 10 aut ego transirem tua limina
clausa maritus respiciens udis prodita luminibus, in.
20 (17). 1 unica nata meo jmlcherrima cura dolori, iv.
18 (19). 19, 20 tota Mycenis in/amis stupro stat
Pelopea domus, rv. 2 (3). 33 diuersae sortitae iura
puellae, v. 8. 40 et facilis spargi munda sine arte
rosa; and many others.

Adverbs. f</ .- % \'-\ : '\

like ti&etit&'cs^l

We occasionally find adverbs used !ifc& u<$eGpfc'es^l
both (a) as attributes (epithets) and (fys s '"**-. ^ yLJ
as predicates. Thus we have in. 26. 15 v t^js^'^y
(20. 61) diuae nunc, ante iuuencae, in. 21"(in)r!l0
iam dea Leucothoe, iv. 6 (7). 41 paulatim iacturam,
iv. 7 (8). 18 has didici certo saepe in amore notas (i.e.

ovi INTRODUCTION.

frequently occurring), iil 20 (17). 16 paruo aaepe li-
^uore 'by a little water often'; cf. i. 3. 4. Add i. 2. 11
surgit formosius, and compare i. 16. 47, 22. 2 notes,
in. 26. 11 (20. 57) nee forma aeternwm aut cuiquamst
fbrtuna perennis.

magis shews two curious uses: (1) almost = 'but,'
Fr. mais; II. 4. 9 (3. 53) quern non lucra, magi* Pero
formosa coegit; and (2) almost = < perhaps'; iv. 21. 30
siue ebore exactae sen magi* aere manus.

Pronouns.

Propertius does not spurn collocations which Ovid
generally avoids as too clumsy or too
close to prose, e.g. idem We, hoc eodem,
unus quisque. The demonstrative pronouns are used
in a pregnant way. Sometimes they refer _
to the preceding context m general, some-
times the reference is more precise, but it has to be
gathered from the context all the same. -^^
Thus hie, iil 1. 20 uates tua castra ca- "w*"***-
nendo magnus ero : seruent hune mini fata diem (and
n.), iy. 17 (18). 9 Aw pressus and n., iil 32 (26). 51
harum (subject last mentioned in 46), n. 1. 56 una
meos quoniam praedatast femina sensus, ex hoe ducen-
tur funera nostra domo. Hie, ill 5. 39 (4. 55) Hits palu-
dibus, iy. 17 (18). 25 n. tile (the typical human being,
the person in question), v. 4. 14 ubi nunc est curia
saepta, bellicus ex illo fonte bibebat equus. So the
adv. %Uic iy. 21. 25. The same tendency may be ob-
served in the use of other pronouns: e.g. the relative
which thus frequently appears without an antecedent
(iy. 24. 9, <fec.). Sometimes it may be explained as a
sort of hypallage as in the case of adjectives; e.g. u.
8. 26 uierque cruor ( = utriusque). So Martial quis
labor in phiala! docti Myos! for cuius.

ItffBdDWTiOJSr. cvii

hie is used to point out something specially, even«
though not present* So in it. 8. 26 me- *

cum moriaris oportet: hoe eodem ferro J& uu and
stillet uterqtie cruor, the sword k shining
before bis imagination, n. 9. 26 capite hoc your head.
So hie (adv.) in. 1. 22. Compare H. 1. 10 Iwc totum
e Coa ueste uolumen erit ' thereupon there will be a
whole volume/ v. 6. 64 n. Hence hie comes not to
differ much from is in. 27 (21) 4 A*«, or hine from
t#wtt ib. v. 27 ibat et ^mc. '

wte and Aw too are used interchangeably, li. 0. 1
iste quod est ego saepe fui; sed fors et in hora hoc ipso
eiecto, <fec., ib. 23 hie etiam petitur qui, &a....ieto capta
fruare uiro; cf. i. 8. 46 n.

An emphatic (though redundant) use of ills may
be mentioned. It calls particular attention to the
personality of the actor; e.g. 1. 1. 12 n., in. 27 (21).
15, 16 quae cum Sidoniae nocturna ligamina mitrae
soluerit atque oculos mouerit ilia graues ('in her
waking 7 ).

As Hertzberg has pointed out, p. 140, Propertius
is very fond of using the possessive pro-
nouns with A subst. where a more ordinary JJJJjJ? 1 * pr *"
expression would be a personal pronoun
with some added specification (see also above, p. xciv.).
Thud 4 ii. 9. 30 mea nauis C I m my ship' <fec. A pre-
dicative use of hmm is noteworthy, in. 24 (20). 2 tarn
formosa tuum mortua crimen erit (for tibt). For the
omission of personal pronouns see pages Ixii, exxiii.

Verbs,

* . . *

The use of particular verbs does not belong here.
So I must be content with mentioning
that ire % uenire, <fcc, are used sometimes
where a less precise verb, e.g. esse, is required, some-
times where a more precise one.

ovui INTRODUCTION.

Simple for compound verbs and vice versa 1 , (a)
noluit ire (for redire or abire) u, 8. 24,
notesco (Catullus), missus (for invmissus or fS^HncS." 4
admissus) I v. 1. 13 note, focfo (for attudo)
iv. 17 (18). 1 n. (6) educo (duco 'pass' time; thence
in Stat. &c.) ii. 9. 47; perdisco jv.. 4 (5). 25 (also
Cic), persideo iv. 11 (12). 37 (afterwards in Plin.);
adsum iv. 14 (15). 23 (cf. i. 2. 21), adsto iv. 6 (7). 11
n.; retineo (?) in. 27 (21). 5.

Voice. The following usages are curious; scandert
(neut. and absolute) v. 1. 125 a ' climbing'
wall, ludere to 'play,' i. e. 'to be wasted,' in. Voict '
31 (25). 23 non audis et uerba sinis mea ludere. In k 19.
12 we have traicit neut. in a meiap/iorical
sense. Note also diuido absolutely I. 12. * Active ~
10. One use of the active calls for particular atten-
tion. It may be named the inverted pas-
sive. Often where prose writers would Jj^ rtet< pa *'
give the construction a passive cast, Pro-
pertius in common with other poets converts it and
makes it active. An example is i. 20. 8 tuos tinxeril
unda pedes. In prose we should have tincti erunt
undo, (the abl. of place where the place is also the
means). This usage is due originally to poetical ima-
gination which attributes activity to the inanimate
things which are concerned in an action; hut it easily
becomes a form of language. A few instances will
suffice, ii. 1. 57 omnes humanos sanat medicina dolores.
Here 'the leech's art' unites the idea of the personal
activity of the leech, his ' healing,' and the instru-
mentality of his skill; in prose however we should
have sanat medicus or sanantur medicina. v. 8, 76 las-
CHXiiin sternat harena forum (forum sternUfwr harena),

1 In the following instances it is not alleged that the use
of the compound or simple respectively does not make some
difference to the sense, but that the use is rare.

INTRODUCTION. cix

hi. 22. 13 (18. 33) tabula duos poterit componere
(oomponentur in tabula). See my notes on v. 6. 16,
74 and the collection in Hertzb. p. 153 which however
is to be read with discrimination, v. 3. 27 is very
curious diceris et macie uoltum tervuasse (for tenuatus
esse uoltu). It reminds us of Greek.

We have deponents used passively, conspicor v. 4.
34, mereri m. 30 (24). 22, partiri (part.), B Pagsive
mercari (part.), sortiri (part.); persuadeor
(part.) is noteworthy v. 1. 146. Compare pigendus v.
1. 74. On the other hand, the middle
use of the so-called passive is very notice- Middie -
ablo in iv. 18 (19). 21 Minoa uenumdata Scylla figura
'who didst sell thyself.' v. 8. 5 abripitur caeco descen-
sus hiatu a very bold use, 'rushes from under us/ of a
precipitate, cavernous descent

Still more remarkable is the appearance of a new
passive-middle formed in the same way as
the old one; see my note on iv. 8 (9). 15 ^w/«. pow,w "
Phidiacus signo se luppiter ornat eburno.
So v. 1. 9 qua gradibus domus ista Remi se sustulit,
v. 9. 56 quae se suramota uindicat ara casa. We see
the germs of a tendency which has been very fruitful
in Romance.

As in other writers, we find the indicative in apo
dosis in the cases enumerated by Roby Lat.
Gr. 1574; cf. II. 5. 16 note. The indie. MootL
without protasis is rarer; n. 3. 34 pulcriud ha,c fuerat,
Troia, perire tibi, iv. 12 (13). 65 ille furor
patriae futi utUis « would have been.' The figSSSc"^
interchange of ind. with subj. is an archaic
feature, Draeger Hist. Synt. n. pp. 433, 218; in. 8 (7).
29, 30 aspice quid donis Eriphyla iwuenit amaris, arserit
et quantis nupta Creusa malis, 32 (26). 34 — 36 licet re-
f eras— -fluxerit ut . . . atque ut . . . errat et . . . decipit. But it
is useless to multiply instances when we have a pas-
sage like iv. 4 (5). 25 — 46 which should be referred to.

ex INTRODUCTION.

We may notice a hortative subj. in the third per-
son .expressing a mild obligation ; I. 22. 6 n. ,
l 19. 15, 16 harum nulla tua fuerit mihi, SubJftncU9e -
Cynthia, forma gratior, et Tellus hoc, ita iusta, sinat.
But in in. 4. 8 the sim seems to be semioblique and
attracted by the previous subjunctive.

. Propertius is fond of the longer forms of the
imper. I have noted negato, uocato, one-
rato, /actio, spectato. To these may be **"**"*•
added seruato i. 21. 5, but probably not caeditti v. 5.
77. In usage observe the imper. in wishes I. 8. 19
utere n., m. 5. 24 (4. 40) ueni n., iv. 18 (19). 25
innuptae felicius write taedas. We find it con-
joined with the fut. ; see below and compare note
on v. 2. 22.

Pres. of past There are two uses, not distinguished
as a rule by the grammars, but merged
under the one title of historic present, (a) aueim
is the descriptive or pictorial use. It shews us the past
event happening now, as it were, before
our eyes, n. 9. 9, 10 exanimum amplectens ruenL
Briseis Achillem Candida uesana uerberal ora manu
et dominum lauit; so in in. 7 (6). 3 sqq.,
ii, 7. 2 note, v. 1. 118, 4. 3, 4. The nou- * <tfpagL
recognition of this has led L. Mttller to suppose
several absurd contractions, such ssjlemits .

for Jleuimus. (b) The second class is ^**+?
that where the effects of an action are re- **»**»*«■
presented as lasting into the present 1 . So the Greek
legal phrase a&urci oti K.T.A., not T&unprcr, c he i3
guilty'; aXX* iJSc ruerct ere 'she is thy mother.' Thus
we find in v. 1. 77 me creat, 121 Vmbria te edit
and sqq., 2. 3 orior n., 4. 54 quern nuirit inhumanae
dura papilla lupae. The use of the pres. for the

1 («) generauy oorrespoocte to the taper/, (A) to the

INTRODUCTION. cxi

•imperf. subjunctive 1 is recognized and is to be ex-
plained in the same way as (a). But this 7 .
is not the case with that of the part, which junctive* parti-
has even been denied altogether. It oo- *** **"***
curs however in two passages at least; see v. 11. 39
note. We find it also in the infin., as in Greek, iv.
13 (14). 19, 20 inter quos Helene nudis capere arma
papillis fertur nee fratres erubuisse deos (for oepisse).

In one or two cases the present is coupled or inter-
changed with the future; iv. 12 {13). 43 —
46 quieumque uenis, uenaberis et si. . .quae- vx/Mure.
ris aueni «t ma l?a,n&...uocato i siue petes calamo prae-
mia eiue cane. Compare I. 5. 9 n. The last quota-
tion shews a use which is often overlooked, uenaberis
is *vou may hunt/ you shall hunt if you like. It is
found with the imper., as already said, iv. 16 (17). 29,
30.

Properties is fond of the fut. part in -rue, (i) An
elegant use has been already illustrated
by Hertzb. p. 141, where Hie part, may be £$£ re J***"
paraphrased by a relative sentence; e.g.
iv. 20. 12 (4) Phoebe moraturae contrahe lueis iter
* which would otherwise delay.' (ii) He is fond of
using this part, with sum in place of the fut. ind.; i. 17.
3, in. 7 (6). 24, v. 11, 79, <fcc.

Ferf. (i) There is a * potential' use, which is
niueh rarer than that. of the future, and „ „

• Perfect

reminds us somewhat of the Greek aorist,

for an act begun but not completed. Thus v. 5. 64

per tenues ossa has sunt nwmerata eutes, _ t tl ,

. » • i . i i «i» « i rTI Potential use.

'they might have been counted, v. 1. 104

libra locuta deos ' which will tell if consulted.' So in

1 v. 5. 9 — 12 is in point, and a good instance of what Proper-
tins will venture upon. He is speaking of a woman who is
dead ; ilia uelit, poterit magnes non ducere ferrum et uolucris
nidis esse nouerca suis. quippe et Collinas ad fossam mouerit
herbas, stantia currenti diluerentur aqua. Cf. iv. 15 (16). 21, 22.

cxii INTRODUCTION.

iv. 10 (11). 23 the sense is rather that the chariots

might have been sent than that they were. See I. 9.

29 n. (ii) The use of the per£ inf. for

the pres.; e.g. in. 4. 11, 8 (7). 3. It is %£«* ***

probably metrical, I. 1. 15 n. Otherwise

it connects with the tendency pointed out on p.

xlvL

Pluperf. Propertius' use of this tense is very charac-
teristic. I have ventured (p. xlvi.) to attri-
bute it to a desire to throw what he has been plu P er ^ eeL
contemplating into the past and to have done with ii
There is no doubt that the pluperfect must have a
larger territory assigned to it than is usually conceded
by the grammars, and that it frequently represents in
Latin prose an English aorist There is always how-
ever a reason for this. To take one example, in Ter.
Ad. 1. 1. 2 non rediit hac nocte a cena Aeschinus
neque seruolorum qaisquam qui aduorsum ierant 'Ha*
not Ae. returned or any of the slaves who went to
meet him)' the pluperf. is used to distinguish it
from the peril which has preceded it. ierunt would
be taken k have gone.' But in Propertius the use is
pushed far beyond the limits demanded by perspicuity.
It is used of (a) anything which has happened in the
remote past or (o) which Propertius wishes to regard as
having so happened. Thus (a) il 2. 13 diu&e quas
pastor uiderat olim, &c f n. 6. 3 curba Menandreae
Juerat nee Thaidos dim (with contemporary perfects),
iv. 10 (11). 65 haec di condiderant (edd -uni) f haec
di quoque moenia servant, 12 (13). 34 — 40 dedere...
operibat ... creuerat ... circumdabat ...Juerat ... reduxit
So in I. 8, 36 (and note) et quas Elis opes ante pararal
equis, I. 12. 11 non sum ego qai Jueram 'what I once
was, 9 i. 11. 29 multis ista dabunt litora discidium,
litora quae Juerant castis inimica puellis. (6) rv.
34. 20 e&ciderant (edd -unt) surdo tot mea facta
IonL

INTRODUCTION. cxiii

It sometimes gives a special force to. the expression
which is easy to feel, but difficult to render;
v. 8, 53, 54pocula mi digitos inter cecidere ffiop***""
remissos palluerantque ipso labra soluta
niero 'fell'... 'were overspread with pallor,' ib. .82 re-
spondi ego * legibus utar.' riserat, of a sudden laugh.
So in v. 9. 27, 28 deuia puniceae uelabant limina uittae,
putris odorato luxerat igne casa I believe the tense
gives by a fine poetical touch the sudden lighting up of
the fire when the spices are thrown on it. It is sig-
nificant that Propertius carries this fondness for the
pluperfect still further. We find double-loaded plu-
perfects, so to speak. Not to speak of the
instances above where olim and ante occur ^S^/^Sl^ 4
with that tense, we have in. 21 (18). 3
fitera8 mentita (for eras), in. 24 (20). 21 fuerat deuota,
i. 16. 1 quae fueram magnis olim patefacta triumphis.
[So in the fut. iv. 9 (10). 29fuerit exacta, and peril
subj. iv. 23. 11.]

This is the place to speak of the Past participle,
which the perf. and pluperf. share in conir
mon. That participle marks an action as *"
past, but not necessarily as past as regards the main
verb. Its use may only indicate that it was past
when the account was written. Thus it may repre-
sent (a) a dependent sentence with main verb in a
)mt tense (perf., imperf., pluperf.) defined as past to
the main verb, a perfect participle; (b) an action abso-
lutely past, but not defined as to the main verb, an
wrist participle; (c) an action absolutely past, but
of the same time as the main verb. For example in
Livy 2. 36. 1 sub furca caesum egerat without the
context might be taken either (a) 'he drove him after
he had beaten him* perf., or (b) 'he drove and beat him '
<ww. or (c) 'he drove him beating him ' pres. From
the influence of (a) and (c) combined we get (d),
a use of it which does not differ at all from a pre-

cxiv INTRODUCTION.

sent participle, (a) does not require illustration, (6)
in a given passage is often bard to distinguish from
(a) on the one hand or (c) or (d) on the other. Still,
I think, it is clear in II. 9. 8 ilium expectando facta
remansit anus 'she remained faithful and became
old,' iv. 5 (6). 3 num me laetitda tumefaction fallis 1
v. 5. 13 cantatae leges imponere lunae; and so vrhere
no past has preceded, I. 1. 19 deductoe fallacia lunae
and note, iv. 11 (12). 3 spoliati gloria Parthi and
others quoted by Hertzb. p. 121 \ (c) and (d) have
become so mixed in usage (which was to be expected,
as the part, in both eases is in the same relation to the
main verb), that we cannot conveniently separate them.
The past part has a present sense, Le. it is used of
the same time as the principal verb, iu iv. 18 (19). 26
pendet Oretaea tracta puella rate, rv. 13 (14). 6 uersi
clauis adunca trochi, v. 7. 92 nos uehimur: uectum
nauta recenset onus, and still stranger id. 59 ecce
coronato pars altera uecta phaselo [for uehitw (uecta
est) y unless, as is more probable, it is anacoluthic
like the pres. part.; see below], rv. 1. 12 et mecum
in curru parui uectantar Amores scriptorumque
meas turba secuta rotas, unless this is a case like iv.
16 (17). 38 libatum fundens in tua sacra meum. The
passage of past participles into adjectives is now more
intelligible, p. civ.*

There are some very odd uses of the inf., partly
Graecisms, (i) after verbs or verbal phrases;
i. 11. 5 ecquid te...nostri cura subit me- UKm

mores a! ducere noctes? (where observe the double-

1 In these two latter cases the gerundive is more
usual.

3 The use of the perl and ploperf . to denote that a con-
tinuous state is now past may be noted in passing. It is not
unusual. But it rarely gets a separate mention. See v. 2. 26
note, m. 28 (23). 2 a magno Caesar© aperta fait * Caesar has
been opening*

INTRODUCTION cxv

headed construction) = Jkttc arytiv, l 9. 5 non me...
uincant dicere (i. e. dicendo, see note), 1. 16. .^

1 1, 12 reuocatur pour cere (wort ^a&e<70tu)..,
et uiuere (to /u} ov §iairao'0cu) double-headed again,
ii. 1. 42 nee mea oonueniunt praecordia — Caesaris in
Phrygios condere nomen auos, it. 1. 14 non datur ad
Musas eurrere lata ilia (cvTptx«*, as a Greek might hare
said), iv. 10 (11). 64 est cui cognomen coruus habere
dedit (apparently an imitation of Virgil), (ii) after adjec-
tives', i. 11. 12 facilis cedere, iil 5. 12 (4.
28) las8a uocare {note) and elsewhere, iy. $££* <U U 4C ~
4 (5). 35 Berus uersare, y. 5. 13 audax
leges imponere. There are not so many as in some
Augustan writers. (Hi) = supine I. 1. 12 note, I. 6.
33 seu pedibus terras seu pontura carper e ^
remis ibis, I. 20. 24 processerat quaerere.
(iv) as a norru Propertius uses the ini thus very
freely ; iy. 12 (13). 28 illis munus erant Cydonia...et
dare...et tondere, ib. 38 nee fuerat poena
uidere. So also with other verba, L 9. 34. nom

Prepositions,

Propertius' use of these presents very great peculi-
arities. I shall take them in order.

ad. (i) 'to,' with loqui, dicere; e.g. I. 18. 30, v. 11.
83. (ii) 'near,' where we should expect in
(an indefinite use); ad frontem errare ca-
pillos ii. 1. 7, ad Indos ' in India' n. 9. 29, crepat ad
ueieres herba Sabina focos v. 3. 58, ad baculum v. 2. 39.
(iii) 'at,' of time (elsewhere with horam, tempus, and
the like); ad Archemori funera in. 32 (26). 38. (iv)
'against'; Lernaeas pugnet ad hydras in. 18 (16). 9,
arma deus Caesar dites meditatur ad Indos iv. 4 (5).
1. (v) 'for,' denoting the purpose or object of anything;
satus ad pacem iv, 8 (9). 19 note, ad effectum uires
dare ib. 27, fortis ad proelia in. 1. 3, hie tibi ad elo-
quiumciues 'to hear your eloquence' iv. 22. 41. (vi) 'to,'

cxvi INTRODUCTION.

' respecting'; irritus ad v. 9. 40, ad Priami uera caput
v. 1. 52, caecus ad in. 15 (13). 20. For ad uerum
in. 5. 26 (4. 42) and ad sanum iv. 24. 18 compare
notes there.

per. Of place = (i) 'through/ 'from amidst'; so i. 21.

7 n., y. 4. 20 per flauas arina leuare tubas

* from the crowd of plumes'; not the same per '

as inter which would be used where the line of view is
uninterrupted, whereas per indicates that a thing is seen
suddenly or by glimpses: ' through and before'; iv. 12
(13). 12 spolia opprobrii nostra per ora trahit. (ii)

* over,' ie. on or around; v. 3. 26 det mihi plorandas
per tua colla notas, c£ V. 5. 51 titulus per barbara
colla pependit. (iii) 'over' ie. , { across? on the other
side of; v. 7. 55 est sedes turpem sortita per amnem.
(iv) some pregnant uses; iv. 13 (14). 5 pila uelocis
fallit per bracchia iactus 'from arm to arm, '-v. 8. 87
mutato per singula pallia lee to, 'one coverlet after
another'; cf. v. 6. 35 n. Of metaphorical usages we
may notice (v) a. use for the abL of the instrument iv.

8 (9). 26 onerare tuam fixa per anna domum and note.

If the rule that subter with the ace. means * to and
under* (Roby 2125) is correct, Propertius ni6£ _
does not observe it; in. 32 (26). .67 canis
subter pineta, iv. 3 (4). 18 subter captos arma sedere
duces, where observe the dislocation of words.

ab = (i) 'away from' in a pregnant use; in. 9 (8). 6
ut liquor arenti fallat ab ore sitim, ' as it
flies from his lips.' (ii) 'on the side of; in
a very odd expression iv. 10 (11). 24 ne possent tacto
stringere ab axe latus (this is sometimes taken as in
iil). (iii) ab of 'instrument'; redundant v. 3. 39 putris
ab aestu, iv. 1. 63 (2. 23) ab aeuo excidet, perhaps ab
insidiis iv. 25. 6, though that may be also taken for
ex insidiis (note), or as ab irrisu 'in derision' Livy.
So ab arte ib. 5, <fec (iv) 'after '; note a condensed
expr. in i. 13. 24 ab Oetaeis iugis 'after Oeta/i.e. after

INTRODUCTION exvii

it had done its worst to Hercules. So in Lucan post
Tethyos aequora ' after reaching the ocean.'

Propertius is very fond of de, using it where we
might expect ab or ex; e.g. surgere de
toro, de ducibus arma recepta, de pectore
euolare, de tanto nomine rumor eris I. 5. 26 n. But
there is nothing very peculiar in his general use of it,
except the phrase already referred to in. 19 (16)* 14
iam tibi de timidis iste superbus erit (for timidus) and
the phrase de nihilo 'at no expense 1 n. 3. 16, but in
in. 8 (7). 52 * without a motive.'

ex. (i) of things attached) iv. 8 (9). 51 ex ubere 'at
the teats' is peculiar, less so is in. 3. 10
ex umero utroque ' hanging from.' (ii) of .
origin', I. 4. 28 nee quicquam ex Ula quod querar
inueniam (in would be expected), (iii) 'in conse-
quence of; ii. 1. 50 totam ex Helena non probat
lliada. We have a very rare adverbial phrase iv. 21.
6 ex omni.

pro. One very rare phrase calls for remark i. 10.
24 neu tibi pro uano uerba benign a cadant.
Compare iv. 6 (7). 12 n. * r *

sine is a favourite preposition of Propertius. Ob-
serve its use with a noun and a predicate 7.
11. 79 sine testibus illia and note, v. 4. 53 "
sine matris honore.

in. A. with ace. (i) motion in space. A pregnant
use iv. 8 (9). 60 in partes fuisse tuas and
note, iv. 24. 19 and note. C£ Lewis and "*

Short s. v. It is sometimes used with a good deal of
subtlety; in. 31 (25). 43 semper in absentes
felicior aestus amantes 'the tide sets fair ace '

towards an absent love,' v. 5. 48 surdus in obductam
somniet usque seram 'go to sleep over.' (ii) of time =
'till the time of; v. 6. 82 differat in pueros. (iii)
very frequently metaphorical, 'for' or 'to,' of -the
end, object or result of anything; .v. 6. 13 Oaesaris m

p. P. *

cxviii INTRODUCTION*.

nomen ducuntur carmina (note), v. 3. 48 in glaciem
frigore nectit aquas *till they are ice/ iv. 2 (3). 35 hede-
ras legit in thyrsos (c£ v. 34), iv. 22. 14 in faciem
prorae pinus adacta nouae, with which compare the
more difficult expressions v. 6. 30 in obliquam ter
sinuata/acera and v. 1 1. 83 somniaque in faciem credita
saepe meam * believed to take my form,' iv. 22. 38 cur-
uatas in sua fata trabes 'to cause the death of their
master,' v. 5. 73 cards in nostros nimis experrecta
dolore8 'to pain me,' iv. 20. 25 pactas in foedera
aras ' plighted in troth 1 (in Greek /?<iyu>? is used of an
'altar pledge' olaiv ovre /?o>/ao? ovO* optco<; /xcpci Aristoph.).
For iv, 8 (9). 18 see note, (iv) with neuter adjectives
as substantives; iv. 10(1 1). 23 in aduersum missi currus,
ill. 8 (7). 45 haec uideam rapidas in uanum ferre
procellas (Prop, is fond of uanum as already noted),
III. 22. 16 (18. 36) uelaque in incertu rafrigidus Auster
agat. B. with abl. (i) of place where.
Thus 'on the banks of' I. 3. 6 in herboso
concidit Apidano; 'inside,' within (generally «u6), il
6. 31 a gemat in terris (but some take it with what
follows); an extension of the in of clothing v. 2. 28
corbis in 1 imposito pondere messor eram (note). A
fine use in v. 10. 30 in uestris ossibus arua metruat
(ii) where the simple^abL would have done; in. 16. 2
(13. 44) in nullo pondere uerba loqui (abl. of descrip-
tion, 'words of no weight')*, (iii) with words denoting
personal feelings or states; with gandeo 1 v. 8. 63
Cynthia gaudet in exuuiis, so II. 4. 28 (18) gaudeat in
puero; felix 1 iv. 11 (12). 15 ter quater in casta felix,
o Postume, Galla; perditus I. 13. 7 perditus in quo-
dam; pallidus it. 7 (8). 28 in irata pallidus esse, (iv)
denoting the circumstances = 'in the case of (indefi-

1 In all these cases the in may be omitted.
* Perhaps this is due to the analogy of in numero ipaptopuos,
of which I have already spoken.

JNTROL UCTION, cxix

nrtie); so veiy frequently, in. 1. 21 caput in magnis
tangere signis, iv. 7 (8). 34 in te pax mini nulla placet
(so in me), v. 3. 49 omnis magnus amor sed aperto in
coniuge maior, y. 6. 51 n. <fcc. So where we should
expect the ace. ; iv. 16 (17). 23 uesanum in uite Lycur-
gum, iv. 18 (19). 28 aequus in hoste fuit (so Virg.),
(v) in orbe, apparently metrical for in orbem; iv. 13
(14). 10 disci pondus. in orbe rotat.

sub* A. with ace, A pregnant use may be noticed
iv. 3 (4). 4 Tigris et Euphrates sub tua iura
fluent 'will come and flow under your rule,'
iv. 8 (9). 52 crescet et ingenium sub tua
iussa meum (see note). B. with all. (i) 'of
space': two uses (a) 'under the shadow of,' close to;
i. 20. 33 note, sub uertice montis (sub monte is com-
mon), I. 4. 12 sub aequoribus 'on the
shore,' in. 23 (19). 13 Stygia sub Jiarun-
dine (note); (b) 'under shelter of; in in. 30 (24). 39
Idaeo legisti poma sub antro ' in Ida's dells,' iv. 8 (9).
36 n. sub exiguo flumine nostra morast. (ii) 'next to,'
* after.' ir. 1. 26 Caesare sub magno cura secunda fores,
(iii) of the circumstances (a Graecism) in. 25. 1 (20.
35) magico torti sub carmine rhombi (vif avX<2v). Hence
too probably the very extraordinary use v. 7. 95 haec
mecum querula sub lite peregit.

Conjunctions and particles,

I have already said something about these (p. lxiii.),
and I will add something on the most no^ conjunction*
ticeable points in their use. and particles.

non (neque, ne), Propertius is very fond of re-
solved negatives, not only where the nega-
tive. is in a compound, but also where the e0a * t,e>
idea resolved is really positive. Thus we get (i) cases
like i. 3. 8 non certis ( = incertis), iv. 12 (13), 56 non
,..piu8 r non exoratus v. 11. 4; even (ii) where the neg,
appears as nee; I. 20. 14 nee expertos ( = et inexpertos

t2

INTRODUCTION.

see note), in. 26. 6 (20. 52)necproba Pasiphae (et im-
proba P.), in. 22. 33 (18. 53) nee umquam alternante
uorans uaata Charybdis aqua, (iii) two negatives for
one positive; often with meiosis; n. 5. 2 non ignotou
notorious, iv. 13 (14). 3 non in/amis honourable, L 4.
18 non tacitt£8 loud, <fcc. (iv) with verbs; n. 1. 50
non probcU (improbat), &c. These are treated as if
they were positive verbs; n. 9. 35 nee sic incerto
mutantur flamine Syrtes...quam cito feminea non con-
stat foedus in ira 'is broken/ in. 24 (20). 13 semper,
formosae, non nostis parcere uerbis (numquam n. or
else nescitis would have been more usual). Hence, I
believe, v. 9. 70 is to be emended Herculis eximie ne
sit inulta sitis 'that it may not lack a signal vengeance. 1

quoque is used in one place simply as etiam, i. 12.
18 sunt quoque translato gaudia seruitio, c ~ ur ^.
in contravention of the rule that it quali- and disjunctive
fies the preceding word. par

Propertius sometimes uses (i) uel, <fca, and et with-
out much difference in meaning; thus
uel for et n. 8. 11 munera quanta dedi JJjJ, * ne9Ut *
uel qualia carmina feci, ib. 39 (so too in
other writers); et for uel v. 6. 51 n. (ii) neque, <fec,
with uel, <kc., and et, <fcc. Thus n. 1. 19 sqq. non
canerem. . .nee. . .et. . .ue. . .aut. . .que. . .et. eeu also inter-
changes with uel... aut and que; iv. 21. 25 sqq. uel...
aut...aut...que...aut...siue...seu. It is found in a
unique use in n. 1. 15 eeu quicquid fecit riue est quod-
cumque locuta where it adds nothing to the sense.
This use of sen becomes more prominent
in later Latin. So does the intensive use
of eed 'and that too' which is very common in Martial,
and whose origin is explained on n. 5. 15 ; see v. 10.
12 hie spolia ox umeris ausus sperare Quirini ipse
dedit 8ed non sanguine sicca suo. Its adversative
force tends to disappear in other cases as in. 27 (21).
'7 (cf. 11) and supra p. lxiiu

INJMODUCTIOX. cxxi

A curious use of ut has been mentioned above,
p. xc. ne, which appears in one place as
ni (v, supra), is put tor ut turn -eo that... 1

not* in iv. 10 (11). 24 and not improbably v. 11, 47. ;

num appears where no negative and even a positive
answer is required, v. 3, 23, ii, 3. 23. Rm

Hitherto I have spoken of particular words and
forms of words, so far as the word or form
may be said to have a particular use or <j£j22£" <m ^
meaning attached to it I shall now say
a little on their combination and interaction in sen-
tences. The distinction is a convenient one though
not always easy to apply.

Stress of the sentence.

I have already pointed out (p. lxii.) that this is often
where we should least expect it, and more
examples may be got from the notes. The fJJgjL^ **
non-perception of this has sometimes led
commentators wrong. Thus in. 32 (26). 72 huic licet
ingratae Tityrus ipse canat means ( a Titvrus might
sing to her and she would be ungrateful . Proper-
tius often leaves the predicate to be taken care of by
the emphasis alone, where others would have helped it
by inserting a word like esse. See note on i. 8. 62.
Sometimes a part, or adj. contains a thought which
would have been more clearly conveyed by a separate
sentence; I. 19. 24 frangitur assiduis certa puella
minis (La quamuis c), in. 31 (25), 9 cum te iussit
habere pueUam cornua Juno 'maid as thou wast/ v. 9*
22 terraque non ulkts /eta ministrat .aquas 'in spite
of its teeming breast,' 'from its teeming breast, 1

1 I believe this has been already pointed out by Mr
Wratislaw in a paper read before the Cambridge Philological
Society.

cxxii INTRODUCTION.

Concord and attraction.

The following are unusual; it. 9. 41 sidera sunt
testes, iil 6 (5). 24 haec mini deuictis
potior uictoria Parthis, haec spolia, haec SSnSSm *%
reges, haec mihi -currus erunt It would XJJJJ^"* "*
usually be hi reges, nic currus erit. Observe
also the change to neut plur. haec in the pentameter, and
the plur. erunt in agreement with haec. This is the
usual construction in Prop.; it. 12 (13). 27 illis
munus erant decussa Cydonia ramo, iv. 8 (9). 34.
Amongst attractions may be mentioned iv. 5 (6). 39,
40 me quoque consimili impositum torquerier igni
iurabo et bis sex integer esse dies where the change of
constr. is very noticeable, n. 9. 7 is still stranger
ui&wra et quamuis numquam speraret Vlixem. It is
to be explained as follows, (a) speraret ee ui&uram
is the ordinary constr. Roby 1444, then (6) the
se is omitted speraret uisuram, Roby 1347; then
(c) the uisura is attracted into the nom., as in the
foregoing ex. and others quoted by Roby 1350 to
which i. 16. 8 (n.) is probably to be added. The
subtle influence of juxtaposition probably accounts for
in. 8 (7). 16 Iuppiter, indigna merce puella perit (for
indignum an exclamation * monstrous!'), in. 7 (6). 38
uitae longus et annus erit (probably for uitae longutn
as the order seems to shew). Compare p. cvi. on the
pronouns.

Omissions,

There are two omissions in Propertius of frequent
occurrence, (i) of parts of sum. Theomis-
sion of the inf. throws the stress of the 0mi9tUmt '
sentence into the predicate as has been already ex*
plained. Besides this, finite parts of it are
omitted. The regular omissions are given ""^
in Roby 1442 — 4. Propertius has several rare ones;

INTRODUCTION. cxxiii

ii. 8. 13 ergo tarn multos nimium temerarius annos
(sc. sum) qui tulerim, in. 24 (20). 12 an contempt* tibi
lunonis templa Felasgae Palladia aut oculos ausa (es)
negare bonos? His absolute use of the part is perhaps
so to be explained; iv. 16 (17). 38 ante fores templi
(erit) crater antistitis auro libatum. fundens in tua
sacra "merum. See above on the pdfet part, and on the
vocative. Omissions of the subj. in i. 8. 37 n. (esset),
in. 23 (19). 11 n. (sit), (ii) The second class of omis-
sions is that of the personal pronouns both <
in the nom. as in i v. 10 (11). 68 nunc ubi JJJJ -1 ^
Scipiadae classes... aut modo Pompeia Bos-
pore capte manu? and in oblique cases as in I. 1. 23
note, I. 3. 30, iv. 24. 6 n., in. 30 (24). 28 testis eris
puras, Phoebe, (tc) uidere manus. So with is; iv. 15
(16). 14 nemo adeo, ut noceat (ei), barbarus esse
uolet. See more in Hertzb. p. 124; and compare
p. lxiL

We have other elliptical expressions. Verbs of wu>-
tion are to be supplied in iv. 4 (5). 30 in
nubes unde perennis aqua, iv. 17 (18). 21 ****'

sed tamen hue omnes, v. 2. 29 sobrius ad lites. The verb
is omitted with quo and unde in interrogations in. 27
(22). 31 quo tumatutinus, ait, speculator amicae? n. 7.
13 unde mihi patriis natos praebere triumphis) and in
exclamations v. 6. 65 di melius !

When a word is put once which should appear
twice, we get a zeugmatic or double-headed
construction which has been noticed al- J %%$% eon ~
ready; seep. lxiv. So 1. 15. 13 et quamuis
numquam posthac uisura-dolebat-illa tamen longae
conscia laetitiae, iv. 21. 33 seu-moriar-fato non
turpi fractus amore 'if I die, I shall die by the decree
of fate.' A second case is where another word or
phrase, either (a) alike in meaning but different in
form, or (b) alike in form but different in meaning,
has to be supplied from the context. Thus (a) iv. 12

cxxiv INTRODUCTION.

(13). 61 uera loquor: sed nulla fides, neque enira Ilk
quondam (sc. fidem habuit), uerax Pergameis Maenaa
habenda malis. (b) iv. 29 (23). 13 (15) note. So pro-
bably (with Hertzb.) is to be explained iv. 22. 37,
jSinis being nom. Compare I. 2. 17 n.

The first class is allied to anacoluthon and the
second to zeugma. Compare p. lxii.

Changes of construction.

These are so common in Propertius that little
more is necessary to do than to enumerate
the heads under which they fall, (i) The #3ta!l >lr "
change which apostrophe is largely influ-
ential in producing is discussed by Hertzb. p. 115. One
example will suffice from a poem which
will also abundantly illustrate anacoluthon, p^ r ,^ inff€ **
iv. 10 (11). 33 sqq. Alexandria is ad-
dressed (v. 33), then Memphis (v. 34), then Rome
(36), Pompey 1 (37), Rome (49), Cleopatra 1 (51).

(ii) The alternation of the first person sing, and plur.
is extraordinarily frequent in Propertius.
Thus in the first poem 1. 1. 33 in me nostra S2»2?T* /
Venus and note; and see the collection of
instances in Hertzberg, p. 121. Occasionally other
changes are found; e.g. in. 20 (17). 43 — 47 from v,os
to tu, m. 23 (19). 7 sqq.

(iii) I have already given examples of the substitu-
tion of one tense or mood for another (see
above, pp. cix. sqq.), and the same examples S*«SSt»io«L
will serve as instances of the conjunction
of dissimilar tenses or the change from one to another.
It is in consequenco sometimes difficult to decide
whether a change of tense indicates a change of mean-
ing, in. 5. 33, 34 and note.

1 In these cases there is no name in the too. to warn ns
there is a change of person. See more exx. in the notes.

INTRODUCTION. cxxv

(iv) Propertius is very fond of varying his con-
structions in all sorts of ways. Thus n. 1.
19 sqq. non ego Ti tanas cow«rcm...Xerxis ^Sn£SSSnJ^
et imperio bina coisse uada regnaue prima
Herni, iv. 10 (11). 37 issent Phlegraeo melius tibi
funera campo uel tua si socero colla daturus eras, iv.
12 (13). 27 illis munus erant Cydonia...et dare
canistra, nunc uiolas tondere. See also I. 5. 19 sqq.,
I. 8. 34 sqq., in. 23 (19). 7 sqq., iv. 2 (3). 41 sqq., <fcc.

We have seen' from an example 1 that Propertius
often adopts a very strange arrangement of ^ J M

, S • . /• \ i Order of words.

words, and more instances of such hyper-
bata or transpositions may be gathered from Hertzberg.
I will add some dislocations of words which are ap-
parently due to the influence of metre, the next subject
that we shall treat of. They consist chiefly in post-
poning particles to a later place than their proper one
in the sentence; sometimes however, as in i. 2. 30 omnia
quaeque (for omniaque quae) Venus quaeque Minerua
probat, they make them occupy an earlier one. Though
they occur in pentameters, we do not find the special m
variety which is such a favourite of Tibullus and to a
less extent of Ovid, viz. a quadrisyllable in the last
half followed by a que\ e.g. Tib. n. 5. 72 multus ut in
terras depbueretque lapis. They are often used with
a certain subtlety of emphasis which we should have
expected could only have been given in Greek. Thus
iv. 15 (16). 5 obductis committam rnene tenebris? 'my
poor life/ so iv. 5 (6). 12 ornabat niueas nullane gem-
ma manus? 'what, not one?' iv. 21. 16 qualiscumque
mihi tuque puella uale, kax avy\ <3 Kofyq.

1 See page lzx.

CHAPTER IV.

In his treatment of the elegiac metre Propertius ap-
pears to great advantage. With him it has xiuPronaita
a weight and a vigour that no one else can eUgi. and i*r
shew; and while it is conceivable that a a$& ?n£cr-
greater poet might have handled it better,
it is certain that no one has done so as well.

In the hands of Catullus the elegiac is still semi-
barbarous. The pentameters of Catullus can only be
compared to the hexameters of Ennius. In both we
see the struggle of form with an unyielding material;
and the sense of this inevitably jars upon us. This is
not the place to enter into an elaborate analysis of the
elegiac verse of Catullus. But two points may be
mentioned ; his extraordinary number of elisions, and
his carelessness about the ending of the pentameter.
In the verse of Tibullus and Propertius there is equi-
librium between the forces. The versification is
finish eil and yet free. With their successors the rules
re drawn tighter, the metrical composition stiffens,
id the verse becomes a mould to which the writer
lust fit his thought instead of a plastic medium 'which
that thought may shape at its will. In metre as in
language this is inevitable. A. custom grows out of

•lNTEOD UCTIOF. cxxvii

what is often a chance majority of instances. Once

established, it is continually being strengthened by

fresh adhesions. It becomes more and more binding

and less tolerant of exceptions : till at last it arrogates

an exclusive authority, and poses over the rival forms,

not merely as a victor, but a victor on its merits. But

it does not follow that the regularity thus attained is

to be set above all the stages that have preceded its

attainment. It is one thing to own no law, another

to be tied to its letter. There is a happy medium

which is not so difficult to attain as to preserve. We

find this in Tibullus and Propertius.

Propertius , general superiority in vigour and
variety to Tibullus appears also in their versification.
For that of Tibullus is hardly ever impressive and apt
sometimes to become monotonous. Both in hexame-
ter and pentameter Propertius shews a freer structure
than Tibullus, and, we need not add, than Ovid.

Spondees and spondaic beginnings are noticeably
more frequent in him than in either, although not in
excess. This adds considerably to the weightiness of
his lines.

He does not shrink from hexameters like Hexameter of

Propertius.

sen mini sunt tangenda nouercae pocula Phaedrae

ii. 1. 51.

or

aut in amore dolere uolo aut audire dolentem.

rv. 7 (8). 23.

or

ut Maeotica nix minio si certet Hibero. n. 3. 11.

or

non me moribus ilia sed herbis improba uicit.

iv. 5 (6). 25.

or

quern modo felicem inuidia admirante ferebant.

m. 9 (8). U.. ..

exxviii INTRODUCTION,

or

at tu etiam iuuenem odisti me perfida cum sis.

iii. 10 (9). 19.

«

or endings like

et tibi ob inuidiam Nereides increpitarent.

ni. 21 (18). 15.
or

nam cursus licet Aetoli referas Acheloi.

in. 32 (26). 33.

or

cui saepe immundo Sacra oonteritur Via socco.

in. 17 (14). 15.
or

nam nullo dominae teritor sab limine amor qui.

m. 20 (17). 17.

His vigorous and masculine treatment of the pen-
tameter has been well described by Dean
Merivale, in a passage already quoted, who pJJ^JJJttl ^
says that he alone of Roman poets ' raises
it to the dignity of its heroic consort.' He by no
means limits himself to the disyllabic ending: we
frequently find quadrisyllables and even trisyllables
and sometimes quiuquesyllables. It is worth noting
that in the fourth or fifth book the disyllabic end-
ing is almost exclusively used; and this
is not improbably interpreted to mean that £232****
the poet adopted the custom which became
almost invariable after his death. On the relative
merits of these various endings, I do not propose to
speak at length, though I agree with Mr Faley in his
defence of the polysyllable (Preface p. viiL), and I
think the passage which he adduces in illustration of
his argument (i. 20. 29sqq.) fully bears him out. Of
the value of the trisyllable Ovid's imitator Martial was
fully sensible, an we see from his frequent use of it to
give the point of an epigram. But ou Propertius' use of
the trisyllabic ending I must be allowed a few words*

INTRODUCTION. cxxix

Dr Atkinson in an ingenious paper in Hermathena,
vol. I. p. 276, has enunciated a metrical canon for
Propertius which he calls the

Rule of the Liquid

as follows : — ** No pentameter in Propertius ends in
a trisyllable unless the word contains a
liquid 1 , usually in either the penult or j^H^ *** lim
the ultimate syllable."

For example pueri, mefius, manibus. To this he
allows an exception in cubitum i. 3. 34 sic ait in molli
fixa tore cubitum and also in pedibus I. 1. 4, in.
20 (17). 20. On the first passage he criticises Mr
Paley's note, which runs u This verse is faulty not
so much from ending with a word of three syllables
as from having no counterbalancing epithet in the
former part" which he misunderstands, I think, to
mean that all are faulty which do not have "in the
former part a counterbalancing epithet to every noun
in the hinder/' an absurd proposition as he easily
shews ; whereas what I conceive is meant is that this
is the case where the ending is trisyllabic.

The argument of Dr Atkinson for the * rule of the
liquid,' on the strength of which he alters
the reading refer sociis in i. 6. 20 to re- i 5Lf2S! w,l#
feme m f orb* may be summed up as follows.
He finds that in Propertius' 2010 pentameters there
are 50 trisyllabic endings, i.e. 2 'non-liquid' (cubitum,
8odi8), 46 'liquid' and 2 in -ibus {pedtbus) which, for
some reason or other, he thinks should be put in a

> When Dr Atkinson says a 'liquid/ what he means is a
liquid or nasat,

9 I agree in changing tociis (to socis), but on different
grounds ; although it Was Dr Atkinson's paper that first called
my attention to the passage.

cxxx INTRODUCTION.

separate category. In Tibullus there are 28 in 920
pentameters, i.e. 20 'liquid/ 5 'non-liquid' 'and
3 in -ibu8. [Dr Atkinson includes the spurious poems
in this calculation. The figures should be 23 = 17
+ 3 + 3 respectively in about 620 pentameters.] In
Catullus the rule is not observed at all ; nor is -thus
used as an ending in any case. In his 320 penta-
meters trisyllabic endings occur 50 times (surely
there must be some mistake here ; I make them 79), 20
out of which are non-liquids. Thus there is a gradual
establishment of the rule which we observe to be
almost invariable in Propertiua.

This reads very plausible; but I am afraid after
all it is only a maresnest. Mr Fennell has
suggested to me that the reason why most ^minS!**"*
trisyllabic endings contain a 'liquid' is
that most trisyllables contain a liquid ! He has
taken the trouble to go through the greater part of
the first book of Fropertius. Amongst 271 trisyl-
lables he found 204 i liquid' and 67 'non-liquid.'
In 318 lines of Ovid's Tristia he found 140 trisyl-
lables, 100 'liquid 1 and 40 ' non-liquid.' Thus we
should expect ' liquid ' endings to predominate largely.
But it may be urged that there is still a margin of
difference. This may be accidental, though I do not
think it is, as will be seen below.

If this and other arguments hold, Dr Atkinson's
theory totters to its base. Statistically, indeed, it
is much less probable than the view which J have
attributed to Mr Paley, and which he rejects for it.
The theory that a trisyllabic ending is only permis-
sible when the first half of the verse The • COHnUr .
ends with a corresponding word of the balancing <j*-
same or similar termination — for this is ***"*.
the way I should state the theory — moreover ex-
plains, the metrical growth in the three poets just
as well.

INTRODUCTION. cxxxi

The following are the statistics ;

Corresponding Non-corresponding and Total

endings. imperfectly corresponding.

Catullus 27 52(46 + 6) =79
Tibullus

(genuine 18 5 (3 verbs) = 23
poems)

Propertius 44 6 (5 + 1) =50

or a percentage of non-corresponding endings as fol-
lows ; Catullus 65, Tibullus 22, Propertius 12.

But neither is this perfectly satisfactory, Mr
Fennell has suggested to me that some
classes of words may have been avoided 2^S£^' A<?
by Propertius. And this I think will
lead us to the true solution.

First we expect that words which were avoided
in the disyllabic endings would be avoided
in the trisyllabic. This will exclude pro- c^in^ciatsc*
nouns, conjunctions and most adverbs. And ^ordtasend-
we shall expect to find few adjectives.
Verbs are avoided for another reason. Containing, as
they generally do, the pith of the sentence, they
receive a double emphasis at the end of the line ;
and so call attention to the fact that the ending is
trisyllabic and unusual. Besides this, as they very
frequently end with an explosive consonant, e.g.
sedeat (Tibullus), they would in that position, so to
speak, pull a Roman up much in the same way as
a final porb does an Englishman 1 . Nouns then are
left. Now (i) in these (as also in adjectives and adverbs)
the so-called 'liquid' suffixes are exceedingly com-
mon ; see Roby, Lat. Gram. Yol. L This will satisfy

1 I am surprised that Dr Atkinson has not recognized the
importance of the last sound. I wonder that he can hear a
difference in favour of gradibus over pedibtu (Prop.) on the one
haad, and of xefugit oyer capite (Tib.) on the other.

cxxxii INTRODUCTION,

the facts as seen by Dr Atkinson ; or, if not, we
may further admit that the general predominance
of ' liquid ' endings would naturally extend itself by
the influence of imitation and analogy, (ii) If a
noun or adj. is placed at the end of the second halfj
it is a natural tendency to place the word agreeing
with it at the end of the first. Thus, when we
get to the end of the ) couplet, we are not surprised
by an unexpected trisyllable, but have the satisfaction
of receiving a word which we have been expecting
and for* which we are prepared.

I will now sum up the facts as I conceive they
should be regarded.

A. Trisyllabic pentameter endings summary qfr*
diminish steadily in frequency from Ca- tulu -
tullus to Ovid.

Thus we have

Catullus. Tibullus. Propertius.

Pentameters 323 618 2023

Trisyllabic endings 79 23 50

or per cent, about 25 3f- 2|

B. Most of the examples are nouns. In Catullus
we find adjectives, adverbs, and verbs. But these
latter were avoided by his successors.

Nouns

Catnllus.
50

Tibullus.
18

Propertius.
48

Adjectives
Adverbs

7
3

1
1

1
1

Verbs

18

3

Total 79 23 50

Or nouns form 63 per cent, of the whole in
Catullus, 78 in Tibullus, and 96 in Propertius.
These figures speak for themselves,

1

I
I

INTRODUCTION. cxxxiii !

i
Propertiua never avoids, or perhaps rather affects
the assimilation of the first half of the Symmetrical
pentameter to the second, as in ^S^f

reccidit inque snos mensa supina pedes v. 8. 44.

or

semper arnica mihi semper et uxor eris n. 6. 42.

or

omnia quaeque Venus quaeque Minerua probat

i. 2. SO.

The same tendency is seen at work in some
endings that remind ns of Greek,

huno super et Zetes huno super et Calais i. 20. 26.

uret et Eoos uret et Hesperios u. 3. 44.

Candida Nesaee caerula Cymothoe in. 21 (18). 16.

As already said (p. lxxxix.) he does not avoid the
concurrence of similar terminations especially when
&e termination is & (so also Catullus) 1 . Nor does
he observe the artificial rule of not ending a couplet
*ith a nom. part, e.g. egens ends a verse in iv. 20. 30
"jd tedens iv. 15 (16). 24. He is not so careful as
Wl not to allow the sense to run on from the
hexameter to the pentameter, or from one couplet
to another. This latter frequently produces a fine
effect; e .g. v. 8. 7

qua penetrat (uirgo, tale iter omne caue)
ieiuni serpentis honos 2 .

In his employment of elisions he stands between
Catullus and Ovid, but nearer to the for-
?*er. He has many more than the latter,
fle has 23 cases of elision of a long syllable before

* He does not observe the rule of not putting qui &c. alter an
1 Thus we find taleque m. 6 (5). 26, iungiteque iv. 21. 13.

' To an English reader the difference between the Owdian
*na ^ropertian custom will suggest that between the versifica-
to °n of Pope and Morris.

P. P. k

cxxxiv INTRODUCTION.

a short one, chiefly in the first foot ; of which four
are of a monosyllable. Once this elision occurs in
the latter half of a pentameter, in. 6 (5). 18. As
L. MiLller points out, this elision chiefly occurs in
phrases like uidi ego, <fcc. ; or else where the vowel
which precedes is o (afterwards 6) as in nemo adeo.
For the elisions at the end of the first half of a penta-
meter see the footnote 1 .

Proper tius has two non-elisions of rn, huuu*.

me felicem, o nox mihi Candida et o tu

in. 7 (6). 1.

haec eadem ante illam impune et Lesbia feoit

in. 30 (24). 45.

one unelided long vowel, in imitation of Virgil,

. sed thyio thalamo aut Oricia terebintho

iv. 6 (7). 49.

and one with shortening,

Omphal£ in tantum formae processit honorera

iv. 10 (11). 17.

He does not object to keeping a short vowel before
8 and a following consonant. He never _
lengthens it as Tibullus does. fare * ana con-

Thus quoscumque' amaragdos in. 8 (7). sonanL
43, bracchia */?ectaui iv. 10 (11). 53, iam bene* sjoonde
bant v. 1. 41, tu cauS spinosi v. 4. 48, nunc no!
/Scipiadae classes iv. 10 (11). 67, Minoa uemimdata
ScjIIb, figura iv. 18 (19). 21; even consuluitquS
8triges v. 5. 17, and probably Iouis cum prolg *Sca-
mandro iv. 1. 27 n.

1 He has two instances of the end of the first half of the
pentameter being elided before the last ; i. 5. 32 non impune
ilia rogata uenit, iv. 22. 10 Heroulis Antaeique Hesperidumque
choros, compare in. 6 (5). 10 immortalis ero si altera talis erit.
The close connexion between the two halves which this pro-
duces is a Greek liberty which Tibullus and Ovid abandoned.
It is found in Catullus. In the hexameter he affects an elision
at the end of the second foot. Some exx. have been quoted
above.

INTRODUCTION. cxxxv

The following seem to be all the cer- Lengthenings in
tain instances : ar "*-

uinceris ant uincis : haeo in amore rotast n. 8. 8.
nulla cora fait externos quaerere dinos v. 1. 17.

The coalescence of two syllables into one occurs
chiefly in Greek words, such as Pro-

mthei ii. 1. 69, Eni^oju 13. 21, &c. $£$&&?
Besides these we find eodem n. 8. 26
(eddem iv. 5 (6). 36, eosdem v. 7. 7), dehinc n. 4. 60 :
I for -n in plur. in Gobi v. 1. 34, probably .

Ded (adj.) v. 1. 45 and 80c&8 1. c. and I for ^
n the pronoun, in. 19 (16). 35, in. 32 (26). 64 Lauinls
litoribus. In abiegnus v. 1. 42, the vowel becomes
a semivowel (abyegnus). So in Suebus iv. 2 (3). 45.

The resolution of one syllable into two is not
found in Propertius. The sole exception
is the gen. in -ii. Up to his time this gen. JaiwMt
from words in -ius and -ium is only found
in a few isolated cases; e.g. Catullus 9. 5 o mihi
nuntti beati, Virg. Aen, 3. 702 immanisque Gela
fluuti cognomine dicta, and in Ennius in the proper
name Tarquinius : and the -I form is the only one
in use in the best classical prose.

Propertius however found the -ii form so con-
venient for his verse that he used it freely in con-
junction with the -i form ; and Ovid followed him
and extended the use still further. On the one hand
we have Mercurii, imperii, gymnasii and on the other
Pdusiy Antoni, Ma/ri r Tati.

It only remains to remark that, besides the usual
eg8\ nescid, uol6, we find an isolated ex-
ample of 6 in verbs, Le.Jind8 iv. 8 (9). 35. *"*** <*--
As is well known, the shortening spread fast after
the Augustan period ; and in the age of Juvenal final
o is indifferently short or long.

1 ego, v. 2. 8, is remarkable.

k2

CHAPTER V.

LITEEARY HISTORY.

The relation of a poet to his predecessors, contem-
poraries and successors is always a question of literary
interest. In the case of Propertius it is also one of
critical importance. The happy comparison of some
passage of his models or of his imitators may often
suggest the right explanation or emendation of a
passage classed up till then as corrupt. Much has
been done in this way and much remains to be done.
But of this upon a future occasion.

Propertius tells us more than once who are his
masters in poetry. These are of course
the Alexandrine writers of elegy Colli- p^L^^ of
rnachus and Philetas 1 . His ambition is to
be the 'Roman Callimachus , (v. 1. 64); he prays
the sacred shades of Callimachus and
Philetas to admit him to their sacred ^* Crec *"
grove (iv. 1.1).

Of Philetas we have only some inconsiderable
fragments. We have more of Callimachus ;
but not sufficient of his elegiac poems to SS pSSSSI
estimate the amount of our poet's debt to

1 The reader will find a long and somewhat barren discus-
sion of Propertius' relations to the Alexandrines in fiertzb. i.
pp. 186 sqq.

INTRODUCTION. cxxxvii

him. It is however not improbable that it was not so
great as it might seem from his expressions. Enthu-
siasm for the writer whom they took as their model of
harmonious verse might easily have led both him and
Catuljus to exaggerate his merits. When the glamour
of those feelings had faded away, it was possible, as
Ovid, a good judge in the matter, does, to take a
cooler view; Am. 1. 15. 13 Battiades toto semper
cantabitur orbe. quamuis ingenio non ualet, arte ualet.
It was this consummate ars that aroused the hearty
admiration of poets who were struggling with the
difficulties of a yet unharmonized language, and threw
a halo round the somewhat slender ability of its
possessor. Still there are a good number of passages
in Propertius where he has had Oallimachus before
him. I will quote one. In the mss. v. 9. 57 is
read magnam Tiresias aspexit Pallada uates. It is
corrected to magno from Callim, Lauacr. Pall. 101,
102,

Ss k4 tip* adav&TUv o/ca /xrj 6ebs a£rfo IXiyrai
dBpy&V A"<r0? tovtov Idetv /xeyaXq).

And more are given in the notes 1 .

There is another writer of the Alexandrine period
to whom and to those whom he included
in his collection Propertius apparently jSt^SiarS!^
owes much, more in comparison than to
Callimachus. This is Meleager of Gadara who lived
about B. c. 60. He compiled the first Greek Antho-
logy. A list but not a complete one of the authors
npon whom he drew is given in his prefatory poem,
Anthol. 3. 1. To use his own expression, they are

1 Further illustrations of the statements in this and follow-
ing pages may be obtained from the Index, where the chief
coincidences in the poems included in this selection between
Propertins and his predecessors and successors have been col-
lected, and to which the reader is referred.

CXXX.VU1

INTRODUCTION.

the * flowers in the garland* of Meleager.' Meleager
was a man of refined taste and feeling as the collector
of an Anthology should be. His poetry is endowed
to a wonderful degree with the gift of tears ; and this
no doubt was largely instrumental in drawing Pro-
pertius to him. I will quote one exquisite passage.

ov croc ravr c/Socw, V™* 1 ? ; " Ncu Kvnpiv oXoMrr t,

<» dwe'pttf, t£& irvKva irpoamrapin)"
ovk €@6<ov ; cfXev <r€ irayij. Tt fianfp cVi dc cr/iots-

anaipeis. avror *Epa>f ra irrcpa trov dcdfjcev,
rat a €ir\ vvp tcmfcrt pvpois (V cppavt Xtirorrrovr

&»K* dc di^ocny dcurpva Scppa iriclv.
a ^v;p} /3apv/AOY0t, <rv <V apri pep c< irvpor alc%

aprt <V apo^rvyctr irncvp apake^aiuinj.
ri cXaxcir ; to* arcyitroy or cV jcdXirouru'^Epatfra

€Tp£<JHt, OVK fjfctS lis €Wl <To\ Tpf<f>CTO ;

ovk ffdctff ; yvv y*a>6t kclKvv aKkaypa rpofaivv

vvp afia Koi if/v^pa* dc^afievtj ^tona.
avrfj ravff ciXov* 4>cp€ rov troiw, a(ta iracr-^ccr

of cdpar, otrr<» tuuopbnj /xcAiti.

The delicate cruelty and gilded mockery of Love
are touched in a way that reminds us of Blake's most
exquisite poem. 4 A bath of ointment to the scorched
sufferer, a potion of scalding tears for his thirst.
Yes, and rightly so; for he has taken to himself one
who is as burning snow, and fiery honey is his re-
ward.' Taking the number of Meleager's poems into
account, Propertius' obligations to him are consider-
able. Several of them are quoted in the notes ; see
Index s.v. Meleager. I add two more. Prop. y. 1. 143
illius arbitrio noctem lucemque uidebis, Meleag. Anth.
12. 159 rjv /tot owvc^cs ofLfia fldXys votI, x«/&a Scoopjccr
rpr & iXapov fikofny:, ^8w T&qXev cop: Prop. HI. 17 (14).
20 inuitis ipse redit pedibus, Meleager Anth. 12. 85
avTOfidrots 8* okv>v voaai ra^vs ifxpofjuu. Propertius
seems also to have caught some of Meleager's tricks of
speech: e.g. ecce, aspicc — Meleag. ISov, i/fc^c. Anth.
5. 178, 12. 101, <fcc.

INTRODUCTION. cxxxix

Amongst the other contributors to the Anthology
whom we observe that Proper tius had read _ jr

Otncr conttiov-

were Leonidas of Tarentum, an epigram tors to the* Gar-
from whom he translates in iv. 13 (12). tom **
43—44 = Anth. 9. 337 ; compare also Anth. 9> 82
vavrov ras ra\ivd<i olvos IS^orc x*P a ? "^^h IV. 5 (4).
21 mentein uincire Lyaeo and more in the notes.
Dioscorides. Anth. 7. 450 Alxrxvvrjv ov vofiicacra 0€dV =
Prop. in. 27 (21). 12 intereat qui nos non putat esse
deos, 9. 568 fx6)(0os c^tos iroXi^s t' cpya ictpicrva X € P°?
v&op irav iyeveaOc = Prop. in. 8 (7). 46 quae tibi terra
uelim quae tibi fiat aqua. Posidippus. Anth. 5. 213 =
iv. 15 (16). 5, 6 and 20, 7. 170 = Prop. i. 20. 34 note.
Antipater. Anth. 9. 58 (q. y.) = Prop. iv. 1. 57 (2.
17) sqq. cf. iv. 10 (11). 21. There is an epigram
attributed to him which I must take leave to quote as
it was manifestly written in Proper tius* time* Anth.
9. 297.

SreXXcu cV Ei^pijnji/, Zrjvbs reicos' €ts <rc yap tj&rj

ijtaot HdpOav avTOfwXoixri irofos*
TTcXXev, ava£. dqets dc (frofkp Kexakcurncva ro^a,

Kaltrap* irarpipcav d* apjai 1 aV avrokeav.
'Papqi' o , ctKfavcp ircpiTcp/jLova irdvrotiev, avrbs

7rp(oros dvcpxofitPn a^payia-ai 1 i;c\ta>.

The language reminds us very strikingly of Proj).
in. 1 and irarpuMu dvrokat throw light on the obscure
phrase of v. 3. 7, the allusion probably being to
Julius Caesar's expedition against Pharnaces. Anacreon.
Meleager tells us that he included some of his elegies
in his ' Garland. ' B a t it is certain that, if so, and if they
were those which are ascribed to him in the Greek
Anthology, they are. not by any means all genuine:
e.g. those on Myron's cow (9. 715, 716); for Myrou

1 The editors by accenting <r<f>pdyL<rcu, a middle form without
authority, and taking dpijcu from apxofuu, ' begin,' have caused
themselves unnecessary trouble. I take both atppaylacu and
a/>£at as imperative infinitives ; ' rule from your father's East.'

cxl INTRODUCTION.

is muck later than Anacreon. The latter contains a
phrase \j/cvcraTo fio&iov strikingly like Prop. V. 7. 58
mentitae bonis. These examples might probably be
reinforced by many more, if we had the ( Garland' as
its editor published it

Amongst the other Alexandrine poets Propertius
was doubtless acquainted with Theocritus Theocritus A .
and ApoUonius Rhodivs. Of the former I pcu<mitu *Bko-
cannot find any very numerous imitations. XUSm
However i. 18. 5, 6 unde tuos primum repetam, rnea
Cynthia, fastus? quod mihi das fiendi, Cynthia, princi-
pium? seems an expansion of Theocr. 2. 63trd0cvTov Zpwra
SaKpvcrw; and u. 4. 16(6)=Theocr. 2. 90. Hence X think
I. 14. 5 satas intendat uertice siluas is to be explained
by Theocr. 7. 135 Kara icoaros Sovtovro alytipou As
to Apollonius, I cannot speak confidently. I have
only examined his first book However, the following
parallels are worth noting. The love of Calliope and
Oeagrus vv. 23, 24, Prop. m. 28 (22). 35 l , 36 : 268
€7r€\€vaTo m/x €€ 7ra ^A Prop. in. 8 (7). 24 Candida tarn
foedo bracchia fusa uiro. The turn in 1067 diro ft\e-
<f>dpa)v Sera SaKpva ^cvav ?pa£c is like Prop. ill. 7 (6).
50 omnia si dederis oscula, pauca dabis. As pointed
out on L 20, Propertius had both Theocritus and Apol-
lonius before him when he wrote it.

It must not be supposed that so learned a man as
Propertius had only studied the Alexan- Barlier Gr ^ t
drines. On the contrary there is reason writers.
to believe that he was acquainted with the omer '
works of Pindar, Aeschylus, Aristophanes, Sophocles,
Euripides, and others. But I cannot enter into the
subject of these obligations now % There is one, how-

1 Oeagrifigura there recalls Soph. Trach. <f>aur/xa ratipov.

9 I have already pointed out some affinities between Proper-
tius and Pindar. One coincidence between Aeschylus and Pro-
pertius is so striking and involves such a curious confusion of
ideas, that I will set it down. Plainly it does not matter how

INTRODUCTION. cxli

ever, for whom he had a profound veneration and
whose works he had deeply studied — the poet Homer,
There are many, and these specific, allusions to the
Iliad and Odyssey in the poems of Propertius. See
for example iv. 1. 26 sqq., 11 (12). 25 sqq. where a
complete resume" of the Odyssey story is given, and
other allusions and imitations; e.g. iv. 6 (7). 62, in.
5. 22 (4. 38).

We now come to Propertius' own countrymen.
Among the earlier writers, the only one
that he mentions is Ennius, whom he had B * *"%££ wri "
evidently read with appreciation. See
especially iv. 2 (3). 7 — 12 where he hints that he
would have taken him as his fountain-
head of inspiration if he had written on a
national subject. There is not much direct imitation
of Ennius, so far, at any rate, as the existing frag-
ments are concerned. Their subjects are of course
not those of Propertius; and their number is not
large. I have noted the following coincidences.
puluis fern. (Ann. 320). ferro saeptus (Trag. 375) may
have suggested Propertius* phrase iv. 17 (18). 25 note.
The curious redundance in i. 4. 7 et quascumque tulit
formosi temporis aetas (which also connects with the
phenomena illustrated on p. lxvii) reminds us of Ennius
Ann. 401 postremae longinqua dies confecerat aetas l .
In one passage the younger poet seems to have im-
proved on the older; Ann. 355 erubuit ceu lacte (nom.)
et purpura mixta, Prop. n. 3. 12 utque rosae puro
lacte natant folia. Another line of Ennius Ann. 405

hard a thing one throws oneself off, if what one falls on is
soft. But Aeschylus has, Prom. V. 748, ippiyj? i/mvriiv Tiyrd 1
itrb <7T<f<p\ov Wrpas, jc.t.X. and Propertius in. 9 (8). 13 nunc
iacere e dwo corpus iuuat, impia, saxo.

1 This circumlocution seems to shew that the Roman had
some difficulty at first in grasping the abstract idea of time, as
we might have expected.

cxlii INTRODUCTION.

post aetate pigret svfferre laborem suggests the true
reading and interpretation of iv. 21. 21 quod superest,
sufferre, pedes, properate laborem. Compare Attius
Fr. 72 ita territa membra animo aegroto cunctant
sufferre laborem. I do not find . any coincidences
between thoughts or phrases of Propertius and the
fragments of the other old scenic poets.
Plautus and perhaps Terence I believe he ***'

had read; and perhaps it is to their study that we are
to attribute certain prosaic and even conversational
expressions which later poets eschewed, as below the
dignity of poetry. In this respect Propertius re-
sembles Catullus who never avoids a prose word or ex-
pression, if it oonveys his meaning best ; see Mr Ell is,
CatulL Prolog, p. xxii. Such words a,ve/erire ' cozen,'
uapukure, ducere 'cheat/ tute* 9 comicus. So in phrases
quod quamuis ita sit m. 9 (8). 17, and the frequency
of collocations like hie idem, tile idem with a subst.,
which are somewhat cumbrous expressions for verse.
Of his obligations to Lucretius I will leave others to
speak. There is no doubt that he had read and ad-
mired Catullus; in. 32 (26). 87, 88 haec „ M n
quoque lasciui cantarunt senpta Catulli
Lesbia quis ipsa notior est Helena. In in. 20 (17). 3,
4 he gives vent to the not unambitious boast that his
poems will make Cynthia more renowned than the
mistresses of Calvus and Catullus. In his thoughts
and their expression I do not think he owes very
much to Catullus. He owes something however.
£.g. CatulL 45. 9 Amor dextram sternuit approba-
tionem = Prop. il 3. 24 Candidas argutum sternuit
omen Amor, Catull. 63. 65 mihi limina tepida= i. 16.
22 (already quoted), CatulL 68. 24 gaudia nostra
quae tuus in. uita dulcis alebat amor suggested i. 12.
5. 6 nee mihi Vmsuetos amplexu nutrit amores Cynthia
nee nostra dukis in ore sonat. But the resemblances
are chiefly in {he framework of the language, so to

INTRODUCTION. cxliii

speak. I notice the following: (i) a frequent use of
'potentials,' not however nearly so frequent as in
Prop. Cat. 64. 199 uos nolite pati nostrum uanescere
luctum, id. 101 cupiens contra contendere monstrum ;
so imto, nolo, cogor 1 . (ii) some full expressions which
recall the 'disjunctiveness* of Propertius without how-
ever going anything like as far, e.g. Cat. 68. 99, 100
Troia infelice sepultum detinet extremo terra aliena
solo. The expression, though full, is perfectly con-
sistent; for terra is 'the country' and solo 'the soil/
Contrast the examples given above. So mem animi
Cat. 65. 4 (Ellis), (iii) In his use of the pluperf. Ca-
tullus reminds us of Propertius without however
leaving the common idiom so far behind ; 10. 28, 64.
158, 313. (iv) A certain oddity about the use of in
64. 318 prono in pollice torquens, 22. 17 tarn gaudet
ia se. In conclusion I may notice 64. 317 insultans
extremo tempore which is very like the Propertian
abl. insultet morte mea (1. c. on p. c.) and ieiunvs for
'thirsty ' Cat. 68. 79, Prop. iv. 14 (15). 18.

Propertius was more affected by the living influence
of his contemporaries. Amongst these we
must mention Virgil first. As we have rff '

seen, Propertius was one of his friends, aud he shared
the high estimate of his genius which was general in
Rome. The well-known passage at the end of the
second (third) book is very instructive, as it shews us
not only Propertius' opinion of Virgil, but also the
curious way in which what he had read or heard would
work in his mind and take new and indefinite forms.
The passage is not so much an account as an echp of

1 It is uncertain whether some of the expressions of desire
do not arise out of Catullus' ardent impulsive temperament.
Here, as in the ease of Propertius (see above, p. xlv.), it is a
question of degree. There is no doubt that this fulness of
expression is partly a characteristic of early Latin, and thus
will connect in both eases with arehaie tendencies.

cxliv INTRODUCTION.

Virgil and, like an echo, it is not always true x . v.
1. 40 sqq. is another reminiscence of Virgil. There
are a good many Virgilian phrases in Propertius.
Thus thalamo aut Orycia terebintho iv. 6 (7). 49 n.,
uentosas addidit alas in. 3. 5il, i. 12. 15 felix qui
potuit praesenti flere puellae = Virg. G. 2. 490 felix
qui potuit rerum cognoscere causas (for the thought of
this passage cf. iv. 4 (5). 25 sqq.). census induta
nepotum iv. 12 (13). 11 is a false echo of Aen. 8. fin.
attollens umero famamque et fata nepotum, n. 2. 6
incedit uel Ioue digna soror = Aen. 1. 46 ast ego quae
diuom incedo regina Iouisque et soror et coniunx, v. 8.
55 et quantum femina saeuit = Aen. 5. 6 furens quid
femina possit So in it. 22. 19 (a poem which is
founded on Virg. G. 1. 136 sqq.), commoda noxae =
Virgil's accommoda fraudi, diuom sator is a Virgilian
phrase, sanguine siccus has been quoted; it is like
Virgil's siccas sanguine fauces, the interpretation of
which it establishes.

Dr Teuffel (Hist of Lat. lit. i. p. 467 Eng. tr.)
has pointed out several coincidences be-
tween Horace and Propertius ; and others <nraee -
will be found in the notes. A striking one is Hor.
Od.2. 17. 26 laetum theatris ter crepuit sonum = Prop,
iv. 9 (10). 4 manibus faustos ter crepuere sonos. On
their social relations see above, p. xxxii. I believe our
poet reproduces him, but reproduces him unconsciously.
His coincidences with Tibuttus* again be-
long on the whole to the class of reminis- n, "~
cence rather than direct imitation. I will quote a
few. Tibull. 1. 2. 76 cum fletu nox uigitanda uenit =
Prop. rv. 20. 22 non habet ultores nox uigitanda deos
(observe that he uses it with much more pregnant

1 I wish I had space to develope this ; but the materials
for doing so are in everybody's hands.

1 I exclude of course Books m. and iy., the authors of which
imitated Propertius.

INTRODUCTION. cxlv

meaning than Tibullus), Tib. 1. 8. 3 conscia fibra deo-
rum = Prop. v. 1. 104 aut sibi commissos fibra locuta
deos, and several from Tibullus 1. 9 (init.). Occa-
sionally Tibullus may help us to an emendation of
Propertius, as in 1. 7. 55 = Prop. v. 11. 70.

I must add a word about the prose writers.
Broukhuys long ago held that Propertius
had been infiuenced by Cicero and, I be- ProtewrUert '
lieve, the agreements between them are sufficient to
shew that the poet had read and assimilated the
orator. There are points of similarity too between
his style and that of IAwj\ but I prefer not to venture
on an explanation.

Amongst the imitators of Propertius Ovid is en-
titled to first place. His obligations to Pro-
pertius are not quite adequately set forth JSnftSSwrir
even in so careful and learned a treatise
as that of Dr A. Zingerle. Ovid owes him first the
conception of his Heroides and Fasti. The
first was suggested by the epistle of Are-
thusa to Lycotas v. 4, the second by the aetiological
poems in the same book. v. 1. 69 sacra diesque canam
et cognomina prisca locorum is a perfect description of
the Fasti. Secondly, his mind was thoroughly satu-
rated with the poems of Propertius ; and Propertian
turns and phrases are continually coming to the sur-
face. I will give one instance to distinguish this
kind of coincidence from the next one. Am. 1. 1.
12 Aoniam Marte mouente lyram seems an obvious
phrase enough ; and yet Aoniam lyram is from Prop.
i. 2. 28, and Marte mouente is an echo of Prop. iv. 22.
32 exitium nato matre mouente suo. Lastly he has
a large number of direct and conscious plagiarisms.
For there is no other word for imitations like this,
Ov. P. 2. 3. 39 mitius est lasso digitum supponere
mento = Prop. iv. 7 (8). 69 uos decuit lasso supponere
bracchia mento. It is needless to multiply instances,

oxlvi INTRODUCTION.

many of which may be found in the notes and more
in Zingerle's collection, p. 109 sqq.

Propertius was very widely read in the literary
circles of Home for many centuries, and
the writings of almost all the poets who *""

succeeded him bear traces of his influence. The influ-
ence which he had on Juvenal has been already pointed
out by Mr Palmer. Martial too quotes from him and
imitates him sometimes. Statins had read him very
carefully. He often follows him very closely in points
of phraseology; e.g. in rare words like undisonus,
insinuare in a literal sense. His very mention of
him shews how well he knew him, Silv. 1. 2. 253 hunc
ipse choro plaudente Philetas Callimachusque senex
VmbroquQ Propertius antro ambissent laudare diem.
It shews too that the Romans felt his use of antrum
to be strange. Manilius and probably Lucari, Vale-
rius Flaccus and SUius Italicus all had read him.
The author of the poem on Aetna imitates him 1 . So
too does Claudian. Ausonius founds a whole poem (the
Rosas idyll) on a couplet of his v. 5. 61, 62. Some
of the prose writers too seem to have studied him,
notably Seneca*, and later Appuleius. The latest
ancient writer whom we can make sure was acquaint-
ed with him was the Greek epigrammatist IPauUus
Silentiarius, who lived in the time of Justinian I. On
his imitations of Propertius see Hertzb. p. 230. But
there is a much later writer who may have had Pro-
pertius before him, as he certainly had many other an-
cient authors, Nicetas Eugenianus, a Greek romancer in
the iambic verse of the time, who probably lived about

1 One passage is very striking, Prop. xv. 4 (5). 25 sqq.=
Aetna 219 sqq. Not only is the subject, the study of physical
philosophy, the same, and worked out on the same lines, bat
the indicative and subjunctive in oratio obliqua alternate in a
precisely similar way.

3 The tragedies also contain several imitations.

INTRODUCTION. cxlvii

the 12th century a.d. I think attention should be
directed to him as he certainly has some very obvious
imitations of Euripides, Theocritus, &c, which may be
of importance in determining the text of those authors '.

Then for some centuries Propertius disappeared
from the world. The deluge of barbarism ._ ^ . J
which swept over the civilized world sub-
merged his works like those of so many of the ancients.
We do not hear anything of him till we
get to Petrarch, who, without doubt, had Pararch * e '
seen or possessed a copy, as he both mentions* and
imitates a Propertius. Perhaps Dante knew his works ;
at any rate the coincidence pointed out in the note on
iv. 2 (3). 22 is striking. But Dante would have little
sympathy with Propertius. Tasso and Ariosto also
imitated him; e.g. Jerusalem Delivered Canto 6
Stanzas 104, 105 = Prop. v. 4. 31 — 34, and exx. in
the notes. Henceforward Propertius may be said to
have regained a place among classical poets; and it is
unnecessary to pursue his literary influence further,
now that it no longer bears upon the history of his text.

But I may ask leave to quote from the Introduc-
tion to Jacob and Binder's German trans-
lation a sentence upon Propertius from
the great critic-poet of Germany which may be set
against the comparative neglect of him in England.
The following is the entry in Goethe's diary for Nov.
28, 1798. "The Elegies of Propertius, of which I
have read the greater part in KnebePs translation,

1 The following are the passages I have noted in which he
may have had Propertius before him (I quote from Boisso-
nade's edition) I. 148, 273; n. 127 sqq., 326; m. 10, 12, 46, 184,
235, 251; iv. 355, 413; v. 135; vi. 349, 369 sqq., 437, 475;
vm. 231.

2 On the triumph of Love * L' un era Ovidio e 1' altr' era
Catullo, L' altro Properzio che d' amor cantaro Fervidamente ;
<* V altr' era Tibullo.'

3 E.g. as in Sonn. 220 = Prop. n. 6. 13, 14.

cxlviii INTRODUCTION.

have produced an agitation (Erschutterung) in my
nature, such as works of this kind are wont to cause;
a desire to produce something similar which X must
evade, as at present I have quite other things in
view."

Fasti Peopertiani.

B.C.

69. Birth of Gallus.

57. Birth of Tibullus.

50. Birth of Peopertius.

43. Birth of Ovid.

42. Propertius loses his paternal estate.

34. Assumes toga uirilis.

28. Becomes acquainted with Cynthia (Hostia).

25. First book published.

23. Rupture with Cynthia.

After 23. Publication of second, and third books (n.

III. IV.).

18. Leges Iuliae. Marriage of Propertius. [Previous

death of Cynthia.]
1 6. Poem celebrating performance of Ivdi quinqzcen-

nales, v (iv). 6.

Before A. D. 2. Death of Propertius.

After a.d. 2. Posthumous publication of last book.

*^* It must be remembered that some of the
above dates are only conjectural.

PROPERTI CARMINA.

I. i

His Love.

Cynthia prima suis miserum me cepit ocellis

contactum nullis ante cupidinibus.
turn mini constantis deiecit lumina fastus

et caput impositis pressit Amor pedibus,
donee me docuit castas odisse puellas 5

improbus et nullo uiuere consilio.
et mihi iam toto furor hie non deficit anno,

cum tamen aduersos cogor habere deos.
Milanion nullos fugiendo, Tulle, labores

saeuitiam durae contudit Iasidos. 10

nam modo Fartheniis amens errabat in antris,

ibat et hirsutas ille uidere feras;
ille etiam Hylaei percussus uolnere rami

saucius Arcadiis rupibus ingemuit.
ergo uelocem potuit domuisse puellam: 15

tantum in amore preces et bene facta ualent.
in me tardus Amor non ullas cogitat artes

nee meminit notas, ut prius, ire uias.

p. p. 1

2 PR0PERT1

at uos, deductae quibus est fallacia lunae

et labor in magicis sacra piare focis, 20

en agedum dominae mentem oonuertite nostrae

et facite ilia meo palleat ore magis.
tunc ego crediderim uobis et sidera et amnes

posse Cytinaeis ducere rarniinibus.
et uos qui sero lapsum reuocatis, amici, 25

quaerite non sard pectoris auxilia.
fortiter et ferrum saeuos patiemur et ignes,

sit modo libertas quae uelit ira loqui
ferte per extremas gentes et ferte per undas,

qua non ulla meum femina norit iter. 30

uos remanete quibus facili deus adnuit aure,

sitiset in tuto semper amore pares,
in me nostra Venus noctes exercet amaras,

et nullo uacuus tempore dent amor,
hoc, moneo, uitate malum : sua quemque moretur 35

cura, neque adsueto mutet amore locum,
quod si quis monitis tardas aduerterit aures,

heu! referet quanto uerba dolore mea,

33 uoces.

I. ii
Beauty unadorned.

Quid iuuat ornato procedere, uita, capillo
et tenues Coa ueste mouere sinus)

aut quid Orontea crines perfundere murra
teque peregrinis uendere muneribus,

LIBER I. 3

naturaeque decus mercato perdere cultu 5

nee sinere in propriis membra nitere bonis 1
crede mihi, non ulla tuaest' medicina figurae :

nudus Amor formae non amat artifioem.
aspice quos summittat humus formosa colores,

ut ueniant hederae sponte sua melius, 10

surgat et in soils formosius arbutus antris,

et sciat indociles currere lympha uias.
litora natiuis praelucent picta lapillis

et uolucres nulla dulcius arte canunt.
non sic Leucippis succendit Castora Phoebe, 15

Pollucem cultu non Hilaira soror,
non, Idae et cupido quondam diseordia Phoebo,

Eueni patriis filia litoribus,
nee Phrygium f also traxit candore maritum

auecta ex'ternis Hippodamia rotis; 20

sed facies aderat nullis obnoxia gemmis,

qualis Apelleis est color in tabulis.
non illis stud i urn uolgo conquirere amantes:

illis ampla satis forma pudicitia.
non ego nunc uereor, ne sim tibi uilior istis. 25

uni si qua placet, culta puella sat est;
cum tibi praesertim Phoebus sua carmina donet

Aoniamque libens CaUiopea lyram,
unica nee desit iucundis gratia uerbis,

omnia quaeque Yenus quaeque Minerua probat. 30
his tu semper eris nostrae gratissima uitae,

taedia dum miserae sint tibi luxuriae.

10 et. 11 felicius,

1—2

4 PZOPERfl

I. v
The woes of love. A warning voice.

Inuide, tu tandem noces compesce molestas

et sine nos cursu quo sumus ire pares,
quid tibi uis, insane? meos sentire furores?

infelix, properas ultima nosse mala
et miser ignotos uestigia ferre per ignes 5

et bibere e tota toxica Thessalia.
non est ilia uagis similis conlata puellis;

molliter irasci non solet ilia tibi.
quod si forte tuis non est contraria uotis,

at tibi curarum milia quanta dabitl 10

non tibi iam somnos, non ilia relinquet ocellos;

ilia feros animis alligat una uiros.
a! mea contemptus quotiens ad limina curies,

cum tibi singultu fortia uerba cadent,
et tremulus maestis orietur fletibus horror, 15

et timor informem ducet in ore notam,
et quaecumque uoles fugient tibi uerba querenti,

nee poteris qui sis aut ubi nosse miser,
turn graue seruitium nostrae cogere puellae

discere et exclusum quid sit abire domum; 20
nee iam pallorem totiens mirabere nostrum,

aut cur sim toto corpore nullus ego.
nee tibi nobilitas poterit succurrere amanti:

nescit Amor priscis cedere imaginibus.
quod si parua tuae dederis uestigia culpae, 25

quam cito de tanto nomine rumor eris!

LIBER L \>

non ego torn potero solacia ferre roganti^
cum Tm'Tij nulla mei sit mediciua mali,

sed pariter miseri socio cogemur am ore

alter in alterius mutua flere sinu. 30

quare quid possit mea Cynthia deaine, Galle,
quaerere : non inpune ilia rogata uenit.

. vm
Cynthia's voyage.

Tune igitur demons, nee te mea cura moratur?

an tibi sum gelida uilior IUyria?
et tibi iam tanti quicumquest iste uidetur,'

ut sine me uento quolibet ire uelis %
tune audire potes uesani murmura ponti 5

fortis et in dura naue iacere potes)
tu pedibus teneris positas fulcire pruinas,

tu potes insolitas, Cynthia, ferre niues?
o utinam hibernae duplicentur tempera brumae,

et sit in era tardis nauita Yergiliis; 10

nee tibi Tyrrhena soluatur funis harena,

neue inimica meas eleuet aura preces,
et me defixum uacua patiatur in ora (15)

crudelem infesta saepe uocare manu. (16)

atque ego non uideam tales subsidere uentos, (13)

cum tibi prouectas auferet unda rates; (14)

sed quocumque modo de me, periura, mereris, 17

sit Galatea tuae non aliena uiae,

<6 PROPERTI

ut te felici praeuecta Ceraunia remo

accipiat placidis Oricos aequoribus. 20

nam me non ullae poterunt corrumpere taedae,

quin ego, uita, tuo limine uerba querar;
nee me deficiet nautas rogitare citatos

'dicite, quo porta claasa puella meastT
et dicam l licet Autaricis considat in oris, 25

et licet Hylleis, ilia futura meash'

19 utere. 22 uera. 25 Atraciis.

Cynthia's voyage abandoned.

Hie erit! hie inrata manet! rumpantur iniqui!

uicimus: adsiduas non tulit ilia preces.
falsa licet cupidus deponab gaudia liuor:

destitit ire nouas Cynthia nostra uias. 30

illi cams ego et per me carissima Roma

dicitur, et sine me dulcia regna negat
ilia uel angusto mecnm requiescere lecto

et quocumque modo maluit esse mea,
quam sibi dotatae regnum uetus Hippodamiae, 35

et quas Elis opes ante pararat equis.
quamuis magna daret, quamuis maiora daturas,

non tamen ilia meos fugit auara sinus,
hanc ego non auro, non India flectere conchis,

Bed potui blandi carminis obsequio. 40

sunt igitur Musae, neque amanti tardus Apollo,

quis ego fretus amo: Cynthia rara raeast.

LIBER L 7

nunc mihi summa licet contingere sidera plantis:
siue dies seu nox uenerit, ilia meast.

nee mihi riualis certos subducit amores: 45

ista meam norit gloria canitiem.

I. ix

The prophecy fulfilled.

Dicebam tibi uenturos, irrisor, amores

nee tibi perpetuo libera uerba fore :
ecce iaces supplexque uenis ad iura puellae,

et tibi nunc quouis imperat empta modo.
non me Chaoniae uincant in amore columbae 5

dicere quos iuuenes quaeque puella domet.
me dolor et lacrimae merito fecere peritum:

atque utinam posito dicar amore rudis!
quid tibi nunc misero prodest graue dicere carmen

aut Amphioniae moenia flere lyrae? 10

plus in amore ualet Mimnermi. uersus Homero :

carmina mansuetus lenia quaerit Amor,
i quaeso et tristes istos compone libellos,

et cane quod quaeuis nosse puella uelit
quid si non esset facilis tibi copial nunc tu 15

insanus medio flumine quaeris aquam.
necdum etiam palles uero nee tangeris igni:

haec est uenturi prima £etu01a mali
turn magis Armenias cupies accedere tigres

et magis infernae uincula nosse rotae, 20

8 PROPERTI

quam. pueri totiens arcum. sentire medullis

et nihil iratae posse negare tuae.
nullus Amor cuiquam faciles ita praebuit alas,

ut non alterna presserit ille manu.
nee te decipiat quod sit satis ilia parata: 25

acrius ilia subit, Pontice, si qua tuast;
quippe nbi non liceat uacuos seducere ocellos,

nee uigilare alio nomine cedat Amor,
qui non ante patet donee manus attigit ossa.

quisquis es, adsiduas a! fuge blanditias. 30

illis et silices possunt et cedere quercus.;

nedum tu par sis, spiritus iste leuis.
quare, si pudor est, quam primum errata fatere:

dicere quo pereas saepe in amore leuat.

33 p088l8.

I. xvi
The door's complaint.

Quae fueram magnis olim patefacta triumphis,

ianua Tarpeiae nota pudicitiae,
cuius inaurati celebrarunt limina currus,

captorum lacrimis umida supplicibus,
nunc ego, nocturnis potorum saucia rixis, 5

pulsata indignis saepe queror manibus;
et mihi non desunt turpes pendere corollae

semper et exclusis signa iacere faces,
nee possum infamis dominae defendere noctes

nobilis obscenis tradita carminibus. 10

LIBER L 9

nee tamen ilia suae reuocatur paroere famae,

turpior et saecli uiuere luxuria.
has inter grauius cogor deflere querelas,

snpplicis a longis tristior excubiis*
ille meos numquam patitur requiescere postes, 15

arguta referens carmina blanditia:
( ianua uel domina penitus crudelior ipsa,

quid mihi tarn duris clausa taces foribus?
cur numquam reserata meos admittis amores,

nescia furtiuas reddere mota preces? 20

nullane finis erit nostro concessa dolori,

tristis et in tepido limine somnus erit?
me mediae noctes, me sidera prona iacentem,

frigidaque Eoo me dolet aura gelu:
tu sola humanos numquam miserata dolores 25

respondes tacitis mutua cardinibus.
utinam traiecta caua mea uocula rima

percussas dominae uertat in auriculas !
sit licet et saxo patientior ilia Sicano,

sit licet et ferro durior et chalybe, 30

non tamen ilia suos poterit compescere ocellos,

surget et inuitis spiritus in lacrimis.
nunc iacet alterius felici nixa lacerto:

at mea nocturno uerba cadunt Zephyro.
sed tu sola mei, tu maxima causa doloris, 35

uicta meis numquam, ianua, muneribus.
te non ulla meae laesit petulantia linguae,

quae solet irato dicere turba ioco,
ut me tarn longa raucum patiare querela

sollicitas triuio peruigilare moras. 40

10 PROPBRTI

at tibi saepe nouo deduxi Carolina uersu,

osculaque inpresfds nixa dedi gradibus.
ante tuos quotiens uerti me, perfida, poster,

debitaque occultis uota tuli manibusi'
haec ille et si quae miseri nouistis amantes, 45

et matutinis obstrepit alitibus.
sic ego nunc dominae uitiis et semper aniantis

fletibus aeterna differor inuidia.

13 grauibu»...querelis. 38 tecta)

I. XX

Hylas. A warning.

Hoc pro contiuuo te, Galle, monemus amore:

id tibi ne uacuo defluat ex animo,
'saepe inprudenti fortuna occurrit amanti

crudelis Minuis dixerit Ascaniua
est tibi non infra speciem, non nomine dispar 5

Thiodamanteo proximus ardor Hylae.
huic tu, siue leges umbrosae flumina Silae,

siue Aniena tuos tinxerit unda pedes
siue Gigantea spatiabere litoris ora,

siue ubioumque uago fluminis hospitio, 10

Nympharum semper cupidas defende rapinas:

non minor Ausoniis est aroor Adryasin:
ne tibi sit — durum — montes et frigida saxa,

Galle, neque expertos semper adire lacus;
quae miser ignotia error perpessus in oris 15

Herculis indomito fleuerat Ascania

LIBER J. 11

namque ferunt olim Pagasae naualibus Argon

egressam longe Phasidos iase uiam,
et iam praeteritis- labentem Athamantidos undis

Mysorum scopulis adplicuisse ratem. 20

hie manus heroum, plaoidis ut constitit oris,

mollia composita litora fronde tegit:
at comes inuicti iuuenis prooesserat ultra

raram sepositi quaerere fontis aquam.
hunc duo sectati fratres, Aquilonia proles, 25

hunc super et Zetes hunc super et Calais,
oscula suspensis instabant carper© palmis,

oscula et alterna ferre supina fuga.
ille sub extrema pendens secluditur ala

et uolucres ramo submouet insidias. 30

iam Pandioniae cessit genus Orithyiae:

a! dolor, ibat Hylas, ibat Hamadryasin.
hie erat Arganthi Pege sub uertiee montis,

grata domus Nymphis umida Thyniasin;
quam supra nullae pendebant debita curae 35

roseida desertis poma sub arboribus,
et circum irriguo surgebant lilia prato

Candida purpureis mixta papaueribus:
quae modo decerpens tenero pueriliter ungui

proposito florem praetulit officio, 40

et modo formosis incumbens nescius undis

errorem blandis tardat imaginibus.
tandem haurire parat demissis flumina palmis

innixus dextro plena trahens umero.
cuius ut accensae Dryades candore puellae 45

miratae solitos destituere choros,

12 PROPERTI

prolapsum leuiter facili traxere liquore:

torn sonitum rapto corpora fecit Hylas.
cui procul Alcides iterat responsa: sed illi
• nomen ab extremis fontibus aura refert. 50

his, o Galle, tuos monitus seruabis amores,
formosum Nymphis credere tutus Hylam.

52 uisus.

I. xxi
The dying words of Gallus.

Tu qui consortem properas euadere casum,

miles, ab Etruscis saucius aggeribus,
qui nostro gemitu turgentia lumina torques,

pars ego sum uestrae proxima militiae.
sic te seruato ut possiut gaudere parentes, 5

nee soror acta tuis sentiat e lacrimis:
Galium per medios ereptum Caesaris enses

effugere ignotas non potuisse manus ;
et quicumque super dispersa inuenerit ossa

montibus Etruscis, haec sciat esse mea. 10

9 quaeewnque.
. XXll

The Poet's birthplace.

Qualis et unde genus, qui sint mihi, Tulle, Penates,

quaeris pro nostra semper amicitia.
si Perusina tibi patriae sunt nota sepulcra,

Italiae duris funera temporibus, .

LIBER I. 13

cum Romana suos egit discordia ciues, 5

(sit mihi praecipue, puluis Etrusca, dolor,

tu proiecta mei perpessa's membra propinqui,
tu nullo miseri oontegia ossa solo)

proxima supposito contingens Ymbria campo
me genuit terris fertilis uberibus, 10

II. v

Remonstrance.

Hoc uerunist, tota te ferri, Cynthia, Roma

et non ignota uiuere nequitia ?
haec merui sperare 1 dabis mihi, perfida, poenas :

et nobis Aquilo, Cynthia, uentus erit.
inueniam tamen, e multis fallacibua unam, 5

quae fieri nostro carmine nota uelit,
nee mihi tarn duris insultet moribus et te

uellicet: heu! sero fiebis amata diu.
nunc est ira recens, nunc est discedere tempns:

si dolor afuerit, crede, redibifc amor. 10

non ita Carpathiae uariant Aqnilonibus undae

nee dubio nnbes uertitur atra Noto,
quam facile irati uerbo mutantur amantes :

dam licet, iniusto subtrahe colla iugo.
nee tu non aliquid sed prima nocte dolebis : 1 5

omne in amore malum, si patiare, leuest.
at tu per dominae Iunonis dulcia iura

parce tuis animis, uita, nocere tibL

14 PROPER! I

non solum taurus ferit uncis cornibu* hostem;

uerum etiam instant! laesa repagnat ouis. 20
nee tibi periuro scindam de corpore uestee,

nee mea praeclusas fregerib ira fares,
nee tibi conexos iratus carpere crines

nee duris ausim laedere pollicibus:
rusticus haee aliquis tarn turpia proelia quaerat, 25

cuius non hederae circumiere caput
scribam igitur quod non umquam tua deleat aetas,

'Cynthia forma potens, Cynthia uerba leuis.'
crede mihi, quamuis contemnas murmura famae,

hie tibi pallori, Cynthia, versus erit. 30

4 aliquo.

II. vii
The cruel law.

Gauisast oerte sublatam Cynthia legem,

qua quondam edicta flemus uterque diu,
ni nos diuideret quamuis diducere amantes

non queat inuitos Iuppiter ipse duos,
at magnus Caesar, sed magnus Caesar in armis : 5

deuictae gentes nil in amore ualent.
nam citius paterer caput hoc discedere collo,

quam possem nuptae perdere more faces,
aut ego transirem tua limina clausa maritus,

respiciens udis prodita luminibus. 10

a! mea turn qualis caneret tibi, Cynthia, somnoft

tibia, funesta tristior ilia tuba.

LISXE II. 15

undo mihi patriis natos praebere triumphis?

nullus de nostro sanguine miles erit.
quod si uera meae comitarent castra puellae, i$

non mihi sat magnus Castoris iret eqtras.
hinc etenim tantum meruit mea gloria nomen,

gloria ad hibernOs lata Borysthenidas.
tu mihi sola places: placeam tibi, Cynthia, solus:

hie erit et patrio sanguine pluris amor. 20

8 amore. 20 nomine.

III. i

Excelsior.

Sed tern pus lustrare aliis Helicona choreis,

et campum Haemonio iam dare tempus equo*
iam libet et fortes memorare ad proelia turmas

et Romana mei dicere castra ducis.
quod si deficiant uires, audacia certe 5

laus erit : in magnis et uoluisse sat est.
aetas prima canat Yeneres, extrema tumultus :

bella canam, quando scripta puella meast.
nunc uolo subducto grauior procedere uoltu;

nunc aliam citharam me mea Musa docet. 10

surge, anima, ex humili iam carmine; sumite uires,

Pierides; magni nunc erit oris opus,
iam negat Euphrates equitem post terga tueri

Parthorum et Crassos se tenuisse dolet:
India quin, Auguste, tuo dat colla triumpho, 15

et domus intactae te tremit Arabiae:

16 PROPERTI

et si qua extremis tellus se subtrahit oris,

sentiet ilia tuas postmodo capta manus.
haeo ego castra sequar: uates tua castra canendo

magnus ero: seruent hunc niihi fata diem! 2c
ut caput in magnis ubi non est tangere signis,

ponitur hie imos ante corona pedes,
sic nos nunc, inopes laudis conscendere carmen,

pauperibus sacris uilia tura damus. 24

nondum etiam Ascraeos norunt mea carmina fontes,

sed modo Permessi flumine lauit Amor,

25 etenim,

III. ii
The Poet's threat.

Scribant de te alii uel sis ignota licebit:
laudet qui sterili semina ponit humo.

omnia, crede mihi, tecum uno munera lecto
auferet,extremi funeris atra dies:

et tua transibit contemnens ossa uiator, 5

nee dicet ' cinis hie docta puella fait.'

III. iii
The God of Love.

Quicumque ille fuit puerum qui pinxit Amorem,
nonne putas miras hunc habuisse manus?

hie primum uidit sine sensu uiuere amantes
et leuibus curis magna perire bona,

LIBER III. 17

idem non frustra uentosas addidit alas, 5

fecit et humano corde uolare deum;
scilicet alterna quoniam iactamur in unda,

nostraque non ullis permanet aura locis.
st merito hamatis manus est armata sagittis,

et pharetra ex umero Gnosia utroque iacet; 10
ante ferit quoniam, tuti quam cernimus hostem,

nee quisquam ex illo uolnere sanus abit.
in me tela manent manet et puerilis imago :

sed certe pennas perdidit ille suas ;
euolat heu ! nostro quoniam de pectore nusquam 1 5

adsiduusque meo sanguine bella gerit.
quid tibi iucundumst siccis habitare medullis?

si pudor est, alio traice tela tua.
intactos isto satius temptare ueueno :

non ego sed tenuis uapulat umbra mea. 2 a

quam si perdideris, quis eiit qui talia cantet,

(haec mea Musa leuis gloria magna tuast),
qui caput et digitos et lumina nigra puellae

et canat ut soleant molli^er ire pedes ?

III. v
The last rites.

Quandocumque igitur nostros mors claudet ocellos,

accipe quae seraes funeris acta mei.
fcec mea tunc longa spatietur imagine pompa,

nee tuba sit fati uana querela mei,
p. p. 2

18 PROPERTI

nee mihi tunc fulcro sternatur lectus ebnrno, 5

nee sit in Attalico mors mea nixa toro.
desit odoriferis ordo mihi lancibus; adsint

plebei paruae funeris exequiae.
sat mea sat magnast si tres sint pompa libelli,

quos ego Persephonae maxima dona feram. 10
tu uero nudum pectus lacerata sequeris,

nee fueris nomen lassa uocare meum,
osculaque in gelidis pones suprema labellis,

cum dabitur Syrio munere plenus onyx,
deinde, ubi suppositus cinerem me fecerit ardor, 15

accipiat Manes paruola testa meos,
et sit in exiguo laurus super addita busto,

quae tegat extincti funeris umbra locum,
et duo sint uersus, 'qui nunc iacet horrida puluis,

unius bic quondam seruos am oris erat.' 20

nee minus haec nostri notescet fama sepulcri,

quam fuerant Phthii busta cruenta uiri.
tu quoque, si quando uenies ad fata, (memento

hoc iter), ad lapides cana ueni memores.
interea caue sis nos aspernata sepultos : 25

nonnihil ad uerum conscia terra sapit.
atque utinam primis animam me ponere cunis

iussisset quaeuis de tribus una soror !
nam quo tarn dubiae seruetur spiritus horael

Kestoris est uisus post tria saecla cinis : 50

cui si longaeuae minuisset fata senectae

Gal lieu s Iliacis miles in aggeribus,
non aut Antilochi uidisset corpus bumari,

diceret aut ( o mors, cur mihi sera uenis]'

LIBER III. 19

tu tamen amisso non numquam flebis axnico: 35

fas est praeteritos semper amare uiros.
testis, cni niueum quondam percussit Adonem

uenantem Idalio uertice durus aper :
illis formosum iacuisse paludibus, illuo

diceris effusa tu, Venus, isse coma. 40

sed frustra mutos reuocabis, Cynthia, Manes :

nam mea quid poterunt ossa minuta loqui?

III. iv. 17—56. Paley. 37 qui.

III. xxi
A dream.

Vidi te in somnis fracta, mea uita, carina

Ionio lassas ducere rore manus,
et quaecumque in me fueras mentita fateri,

nee iam umore graues tollere posse comas,
qualem purpureis agitatam nuctibus Hellen, 5

aurea quam molli tergore uexit ouis.
quam timui ne forte tuum mare nomen haberet

atque tua labens nauita fleret aqua !
quae turn ego Neptuno, quae turn cum Castore fratri,

quaeque tibi excepi, iam dea Leucothoe! 10

at tu, nix primas extollens gurgite palmas,

saepe meum nomen iam peritura uocas.
quod si forte tuos uidisset Glaucus ocellos,

esses lonii facta puella maris,
et tibi ob inuidiam Nereides increpitarent, 15

Candida Nesaee, caerula Cymothoe.

2—2

20 PROPERTI

sed tibi subsidio delphinum currere nidi,
qui, puto, Arioniam uexerat ante lyram.

iamque ego conabar summo me mittere saxo,
cum mihi discussit talia uisa metus. 20

m. zvm, Paley. 15 prae inuidia.

III. xxiii
Love and Destiny.

At uos incertam, mortales, funeris horam

quaeritis et qua sit mors aditura uia;
quaeritis et caelo, Phoenicum inuenta, sereno

quae sit Stella homini commoda quaeque mala,
seu pedibus Parthos sequimur seu classe Britannos, 5

et maris et terrae caeca pericla uiae;
rursus et obiectum flemus caput esse tumultu,

cum Mauors dubias miscet utrimque manus;
praeterea domibus flammam domibusque ruinas,

neu subeant labris pocula nigra tuis. 10

solus amans nouit quando periturus et a qua

morte, neque hie Boreae flabra neque arma timet
iam licet et Stygia sedeat sub harundine remex,

cernat et infernae tristia uela ratis :
si modo clamantis reuocauerit aura puellae, 15

concessum nulla lege redibit iter.

III. zix. Paley.

V \

LIBER III. 21

III. xxix

The Temple of Apollo.

Quaeris cur ueniam tibi tardior. aurea Phoebi

porticus a magno Caesare aperta foifc.
tanta erat in speciem Poenis digesta columnis,

inter quas Danai femina turba senis.
turn medium claro surgebat marmore tern plum 5

et patria Phoebo carius Ortygia.
et duo Solis erant supra fastigia currus,

et ualuae, Libyci nobile dentis opus,
altera deiectos Parnasi uertice Gallos,

altera maerebat funera Tantalidos. 10

deinde inter matrem deus ipse interque sororem

Pythius in longa carmina ueste sonat.
hie equidem Phoebo uisus mihi pulchrior ipso

marmoreus tacita carmen hiare lyra:
atque aram circum steterant armenta Myronis, 15

quattuor artifices, uiuida signa, boues.

m. xnn. Paley. 7 in quo Solis erat.

5—12=9—16. 13—16=6—8.

IV. i

The Poet's reward.

Callimachi Manes et Coi sacra Philetae,
in uestrum, quaeso, me sinite ire nemus.

primus ego ingredior puro de fonte sacerdos
Itala per Graios orgia ferre choros.

22 . PROPERTI

dicite, quo pariter carmen tenuastis in antro 1 5

quoue pede ingressi? quamue bibistis aquam?
a ualeat Phoebum quicumque moratur in armis!

exactus tenui pumice uersus eat,
quo me Fama leuat terra sublimis, et a me

nata coronatis Musa triumphat equis, 10

et mecum in curru parui uectantur Amores,

scriptorumque meas turba secuta rotas,
quid frustra missis in me certatis habenis?

non datur ad Musas currere lata uia.
multi, Roma, tuas laudes annalibus addent, 15

qui finem imperii Bactra futura canent.
sed quod pace legas opus hoc de monte sororum

detulit intacta pagina nostra uia.
mollia, Pegasides, date uestro serta poetae.}

non faciet capiti dura corona meo. 20

at mihi quod uiuo detraxerit inuida turba,

post obitum duplici faenore reddet honos.
omnia post obitum fingit maiora uetustas;

maius ab exequiis nomen in ora uenit.
nam quia equo pulsas abiegno nosceret arces, 25

numinaque Haemonio comminus isse uiro,
Idaeum Simoenta Iouis cum prole Scamandro,

Hectora ter campos ter maculasse rotas?
Deiphobumque Helenumque et Pulydamantas in armis ?

qualemcumqiie Parim uix sua nosset humus. 30
exiguo sermone fores nunc, Ilion, et tu,

Troia, bis Oetaei numine capta dei.
nee non ille tui casus memorator Homerus

posteritate suum crescere sensit opus.

LIBER III. 23

meque inter seros laudabit Roma nepotes : 35

ilium post cineres auguror ipse diem.

ne mea contempto lapis indicet ossa sepulcro,
prouisumst Lycio uota probante deo.

carminis interea nostri redeamus in orbem,
gaudeat at solito tacta puella sono. 40

27 Iouis cunabula parui.

IV. iii
His Mission. A Dream.

Yisus eram molli recubans Heliconis in umbra,

Bellerophontei qua fluit umor equi,
reges, Alba, tuos et regum facta tuorum,

tantum operis, neruis hiscere posse meis.
paruaque tarn magnis admoram fontibus ora, 5

unde pater sitiens Ennius ante bibit,
et cecinit Curios fratres et Horatia pila,

regiaque Aemilia uecta tropaea rate,
uictricesque moras Fabii pugnamque sinistram

Oannensem et uersos ad pia uota deos, 10

Hannibalemque Lares Komana sede fugantes,

anseris et tutum uoce fuisse Iouem;
cum me Castalia speculans ex arbore Phoebus

sic ait aurata nixus ad antra lyra:
( quid tibi cum tali, demens, est flumine? quis te 15

carminis heroi tangere iussit opus?
aon hie ulla tibi sperandast fama, Properti;

mollia sunt paruis prata terenda rotis;

24 PROPERTI

ut tuus in scamno iactetur saepe libellus,

quern legat expectans sola puella uirum. 20

cur tua praescripto seuectast pagina gyro 1

non est ingenii cumba grauanda tuL 1

alter remus aquas, alter tibi radat harenas;

tutus eris : medio maxima turba marist.'
dixerat, et plectro sedem mihi monstrat ebumo 25

qua noua muscoso semita facta solost.
hie erat adfixis uiridis spelunca lapillis,

pendebantque cauis tympana pumicibus
orgia Musarum et Sileni patris imago

fictilis et calami, Pan Tegeaee, tui; 30

et Veneris dominae uolucres, mea turba, columbae

tingunt Gorgoneo punica rostra lacu,
diuersaeque nouem sortitae iura puellae

exercent teneras in sua dona manus.
haec hederas legit in thyrsos, haec carmina neruis 35

aptat; at ilia manu texit utraque roaam.
e quarum numero me contigit una dearum :

ut reor a facie, Calliopea fait :
'contentus niueis semper uectabere cygnis,

nee te fortis equi ducet ad anna so mis. 40

nil tibi sit rauco praeconia classica cornu

flare nee Aonium cingere Marte nemus,
aut quibus in campis Mariano proelia signo

stent et Teubonicas Roma refringat opes,
barbarus aut Suebo perfusus sanguine Khenus 45

saucia maerenti corpora ucctet aqua,
quippe coronatos alienum ad limen amantes

nocturnaeque canes ebria signa fugae;

LIBER IV. 25

ut per te clausas sciat excantare puellas
qui uolet austeros arte ferire uiros.' 50

talia Calliope, lymphisque a fonte petitis
ora Philetaea nostra rigauit aqua.

IV. 11. L. Mtiller. 29 ergo. 33 rura.

42 tinguere.

IV. vii

The death of Paetns.

Ergo sollicitae tu causa, pecunia, uitae !

per te immaturuni mortis adimus iter.
ta uitiis hominum crude lia pabula praebes :

semina curarum de capite orta tuo.
tu Paetum ad Pharios tendentem lintea portus 5

obruis insano terque quaterque mari.
nam dum te sequitur primo miser excidit aeuo

et noua longinquis piscibus esca natat:
et mater non iusta piae dare debita terrae

nee pote cognatos inter humare rogos; 10

sed tua nunc uolucres astant super ossa marinae,

nunc tibi pro tumulo Carpathium omne marest.
infelix Aquilo, raptae timor Orithyiae,

quae spolia ex illo tanta fuere tibi)
aut quidnam fracta gaudes, Neptune, carina? 15

portabat sanctos alueus ille uiros.
Paete, quid aetatem numeras ? quid cara natanti

mater in ore tibist? non habet unda deos.

2Q PROPERTI

nam tibi nocturnis ad saxa ligata procellis

omnia detrito uincula fune cadunt 20

sunt Agamemnonias testantia litora curas,

qua notat Argynni poena Mimantis aquas,
[hoc iuuene amisso classem non soluit Atrides,

pro qua mactatast Iphigenia mora.]
reddite corpus humo; positaque in gurgite uita 25

Paetum sponte tua, uilis harena, tegas;
et quotiens Paeti transibit nauta sepulcrum,

dicat 'et audaci tu timor esse potest
ite, rates curuate et leti texite causas :

ista per humanas mors uenit acta nianus. 30

terra parum f uerat ; fatis adiecimus undas :

fortunae miseras auximus arte uias.
ancora te teneat quern non tenuere Penates)

quid meritum dicas cui sua terra parumst?
uentorumst quodcumque paras: haut ulla carina $5

consenuit; fallit portus et ipse fidem.
natura insidians pontum substrauit auaris:

ut tibi succedat, uix semel esse potest,
saxa triumphales fregere Capharea puppes,

naufraga cum uasto Graecia tracta salost. 40

paulatim socium iacturam fleuit Ylixes,

in mare cui soliti non ualuere doli.
quod si contentus patrio boue uerteret agros,

uerbaque duxisset pondus habere mea,
tdueret ante suos dulcis conuiua Penates, 45

pauper, at in terra nil ubi Here sat est.
non tulit hie Paetus stridorem audire proceDae

et duro teneras laedere fune manus;

LIBER IV. 27

sed thyio thalamo aut Oricia terebintho

effultum pluma uersicolore caput. 50

huic fluctus uiuo radicitus abstulit ungues,

et miser inuisam traxit hiatus aquam;
hunc paruo ferri uidit nox inproba ligno;

Paetus ut occideret, tot coiere mala,
fleas tamen extremis dedit haec mandata querelis, 55

cum moribunda niger clauderet ora liquor :
'di maris Aegaei quos sunt penes aequora, Yenti,

et quaecnmque meum degrauat unda caput,
quo rapitis miseros primae lanuginis annos 1

attulimus Ion gas in freta uestra manus. 60

a! miser alcjonum scopulis adfligar acutis:

in me caeruleo fuscina sumpta deost.
at saltern Italiae regionibus euehat aestus:

hoc de me sat erit si modo matris erit.'
subtrahit haec fantem torta uertigine fluctus; 65

ultima quae Faeto uoxque diesque fuit.
centum aequoreae Nereo genitore puellae,

et tu materno tacta dolore Thetis,
uos decuit lasso supponere bracchia mento;

non poterat uestras ille grauare manus. 70

at tu, saeue Aquilo, numquam mea uela uidebis;

ante fores dominae condar oportet iners.

IV. vi. L. Miiller. 29 curuas.

81 terra parum fuerat fatti ; 46 potest.

63 aduehaU

28 PEOPERTT

IV. ix
To Maecenas.

Maecenas, eques Etrusco de sanguine regum,

intra fortunam qui cupis esse tuam,
quid me scribendi tarn uastum mittis in aequor?

non sunt apta meae grandia uela rati,
turpest quod nequeas capiti committere pondus 5

et pressum inflexo mox dare terga genu,
omnia non pariter rerum sunt omnibus apta;

fama nee ex aequo ducitur ulla iugo.
gloria Lysippost animosa effingere signa;

exactis Calamis se mihi iactat equis; 10

in Veneris tabula summam sibi ponit Apelles ;

Parrhasius parua uindicat arte locum;
argumenta magis sunt Mentoris addita formae;

at Myos exiguum flectit acanthus iter ;
Phidiacus signo se Iuppiter ornat eburno; 15

Praxitelem propria uindicat urbe lapis,
est quibus Eleae concurrit palma quadrigae;

est quibus in celeres gloria nata pedes;
hie satus ad pacem; hie castrensibus utilis armis:

naturae sequitur semina quisque suae. 20

at tua, Maecenas, uitae praecepta recepi,

cogor et exemplis te superare tuis.
cum tibi Romano dominas in honore secures

et liceat medio ponere iura foro,
uel tibi Medorum pugnaces ire per hastas 25

atque onerare tuam fixa per anna domum,

LIBER IK 29

et tibi ad effectum uires det Caesar et omni

tempore tarn faciles insinuentur opes,
parcis et in tenues humilem te colligis umbras;

uelorum plenos subtrahis ipse sinus. 30

crede mihi, magnos aequabunt ista Camillos

iudicia, et uenies tu quoque in ora uirum,
Caesaris et famae uestigia iuncta tenebis :

Maecenatis erunt uera tropaea fides.
non ego uelifera tumidum mare findo carina; 35

tota sub exiguo flumine nostra morast.
non flebo in cineres arcem sedisse paternos

Cadmi nee semper proelia clade pari;
nee referam Scaeas et Pergama Apollinis arces,

et Danaum decimo uere redisse rates, 40

moenia cum Graio Neptunia pressit aratro

uictor Palladiae ligneus artis equos.
inter Callimachi sat erit placuisse libellos

et cecinisse modis, Dore poeta, tuis.
naec urant pueros, haec urant scripta puellas, 45

meque deum clament et mihi sacra ferant.
te duce uel Iouis anna canam caeloque minantem

Coeum et Phlegraeis Eurymedonta iugis;
celsaque Romania decerpta Palatia tauris

ordiar et caeso moenia nrma Renio, 50

eductosque pares silnestri ex ubere reges,

crescet et ingenium sub tua iussa meum ;
prosequar et currus utroque ab litore ouantes,

Partborum astutae tela remissa fugae,
castraque Pelusi Romano subruta ferro, 55

Antonique graues in sua fata manus.

30 . PROPjERTT

mollia tU coeptae fautor cape lora iuuentae,
dexteraque immissis da mihi signa rotis.

hoc mihi, Maecenas, laudis concedis, et a test,
quod ferar in partes ipse fuisse tuas. 60

IV. vin. L. Mtiller. 57 mollis.

IV. xviii
The death of Marcellus.

Clausus ah umhroso qua ludit pontus Auerno,

fumida Baiarum stagna tepentis aquae,
qua iacet et Troiae tuhicen Misenus harena

et sonat Herculeo structa lahore uia,
hie uhi, mortalis dextra cum quaereret urbes, 5

cymbala Thehano concrepuere deo:
at nunc, inuisae roagno cum crimine Baiae,

quis deus in uestra constitit hostis aqua?
his pressus Stjgias uoltum demisit in undas,

errat et in uestro spiritus ille lacu. 10

quid genus aut uirtus aut optima profuit illi

mater et amplexum Caesaiis esse focos?
aut modo tarn pleno fluitantia uela theatro

et per maternas omnia gesta manus?
occidit, et misero steterat uigesimus annus : 1 5

tot bona tarn paruo clausit in orbe dies,
i nunc tolle animos et tecum finge triumphos,

stantiaque in plausum tota theatra iunent;

LIBER IV. 31

Aitalic&s supera uestes, atque omnia magnis

gemmea sint ludis : ignibus ista dabis. 20

Bed tamen hue omnes, hue primus et ultimus ordo:

est mala sed cunctis ista terenda uiast.
exoranda canis tria sunt latrantia colla,

scandendast torui publica cumba senis.
ille licet ferro cautus se condat et aere, 25

mors tamen inclusum protrahit inde caput.
Nirea non facies, non uis exemit Achillem,

Croesum aut, Pactoli quas parit umor, opes,
hie olim ignaros luctus populauit Achiuos,

Atridae magno cum stetit alter amor. 30

at tibi nauta pias hominum qui traicit umbras,

hue animae portet corpus inane tuae,
qua Siculae uictor telluris Claudius et qua

Caesar ab humana cessit in astra uia.

IY. xvii. L. Muller. 81 traicis.

82 portent.

IV. xxiii
The lost tablets.

Ergo tara doctae nobis periere tabellae,
scripta quibus pariter tot periere bona.

has quondam nostris manibus detriuerat usus,
qui non signatas iussit habere fidem.

illao iam sine me norant placare puellas
et quaedam sine me uerba diserta loqui.

32 PROPERTI

non illas fixum caras effecerat aurum :

uolgari buxo sordida oera fuit.
qualescumque mihi semper mansere fidelos,

semper et effectus promeruere bonos. 10

forsitan haec illis fuerint mandata tabellis :

'irascor quoniam's, lente, moratus herL
an tibi neacio quae uisast formosior 1 an tu

non bene de nobis crimina ficta iacis 1 '
aut dixti : ' uenies hodie, cessabimns una : 15

hospitium tota nocte paranit Amor:'
et quaecumque nolens reperit non stulta puella,

garrula cum blandis ducitur hora dolis.
me roiserum ! his aliquis rationem scribit auarus,

et ponit duras inter ephemeridas. 20

quas si quis mihi rettulerit, donabitur auro.

quis pro diuitiis ligna retenta uelit 1
i, puer, et citus haec aliqua propone columna

et dominum Esquiliis scribe habitare tuum.

17 dolens. 18 dicitur.

IV. xxiv

Disenchantment.

Falsast ista tuae, mulier, fiducia formae,
olim oculis nimium facta superba meis.

noster amor tales tribuit tibi, Cynthia, laudes:
uersibus insignem te pudet esse meis.

mixtam te uaria laudaui saepe figora,
ut quod non esses esse putarct amor,

LIBER IV. 33

et color est totiens roseo conlatus Eoo,

cum tibi quaesitus candor in ore foret.
quod mihi non patrii poterant auertore amici,

eluere aut uasto Thessala saga mari, 10

haec ego non ferro, non igne coactus, et ipsa

naufragus Aegaea uerba fatebor aqua,
correptus saeuo Veneris torrebar aeno;

uinctus eram uersas in mea terga manus.
ecce coronatae portam tetigere carinae; 15

traiectae Syrtes; ancora iacta mihist.
nunc demum uasto fessi resipiscimus aestu,

uolneraque ad sanum nunc coiere mea.
mens bona, si qua dea's, tua me in sacraria dono.

exciderant surdo tot mea uota IouL 20

IV. xxv

Renunciation.

Risus eram positis inter conuiuia mensis,

et de me poterat quilibet esse loquax.
quinque tibi potui seruire fideliter annos :

ungue meam morso saepe querere fidem.
nil moueor lacrimis : ista sum captus ab arte ; 5

semper ab insidiis, Cynthia, flere soles,
debo ego discedens; sed fletum iniuria uincet :

tu bene conueniens non sinis ire iugum.
limina iam nostris ualeant lacrimantia uerbis,

nee tamen irata ianua fracta manu. 10

P. p. 3

i34 PROPERTI

at te celatis aetas grauis urgeat annis,

et ueniat fonnae ruga sinistra tuae.
ueilere -tuni capias albos a stirpe capillos,

a ! speculo rugas increpitante tibi,
exclosa inque uicem fastus patiare, superbos, 15

et quae fecisti facta queraris anus,
has tibi fatalis cecinit mea pagina diras.

euentum fonnae disce timere tuae.

V. ii
The god Vertumnus.

Qui mii-are meas tot in uno corpore formas,

accipe Yertumni signa paterna dei
Tuscus ego, Tuscis orior; nee paenitet inter

proelia Yolsinios deseruisse focos.
haec me turba iuuat, nee templo laetor eburno : 5

Romanum satis est posse uidere forum,
hac quondam Tiberinus iter faciebat, et aiunt

remorum auditos per uada pulsa sonos ;
at postquam ille suis tantum concessit alumnis,

Yertamnus uerso dicor ab amne deus. 10

sen, quia uertentis fructum praecepimus anni,

Yertanni rursus creditur esse sacrum,
prima mihi uariat liuentibus una racemis

et coma lactenti spicea fruge tumet.
hie dulces cerasos, hie autumnalia pruna 15

cernis et aestiuo mora rubere die.

LIBER r. 35

insitor hie soluit pomosa uota corona,

cum pirus inuito stipite mala tulit.
mendax fama noces : alius mihi nominis index :

de se narranti tu modo crede deo. 20

opportuna meast cunctis natura figuris :

in quamcumque uoles uerto, decorus ero.
indue me Cois, ■ fiam non dura puella :

meque uirum sumpta quia neget esse toga 1
da falcem et torto frontem mini comprime faeno, 25

iurabis nostra gramina secta manu.
arma tuli quondam et, memini, laudabar in illis ;

corbis in imposito pondere messor eranu
sobrius ad lites: at cumst imposta corona,

clamabis capiti uina subisse meo. 30

cinge caput mitra, speciem furabor Iacchi :

furabor Pboebi si modo plectra dabis.
cassibus impositis uenor : sed harundine sumpta

fantor plumoso sum deus aucupio.
est etiam aurigae species uertumnus, et eius 35

traicit alterno qui leue pondus equo.
suppetat hoc, pisces calamo praedabor; et ibo

mundus demissis institor in tunicis.
pastor me ad baculum possum curuare : uel idem

sirpiculis medio puluere ferre rosam. 40

nam quid ego adiciam, de quo mihi maxima famast,

hortorum in manibus dona probata meis?
caeruleus cucumis tumidoque cucurbita uentre

me notat et iunco brassica uincta leui ;
aec flos ullus hiat pratis, quia ille decenter 45

unpositus fronti langueat ante meae,

3—2

36 PROPERTI

at mihi, quod formas unus uertebar in omnes,

nomen ab euentu patria lingua dedit.
et tu,. Roma, meis tribuisti praemia Tuscis,

unde hodie uicus nomina Tuscus habet, 50

tempore quo sociis uenit Lycomedius armis

atque Sabina feri contudit arma TatL
uidi ego labentes acies et tela caduca,

atque hostes turpi terga dedisse fugae.
Bed facias, diuom sator, ut Roinana per aeuom 55

transeat ante meos turba togata pedes,
sex superant uersua : te qui ad uadimonia curris

non moror : haec spatiis ultima creta meis.
stipes acernus eram, properanti falce dolatus,

ante Numam grata pauper in urbe deus. 60

at tibi, Mamurri, formae caelator aenae,

tellus artifices ne terat Osca manus,
qui me tarn docilis potuistt fundere in usus :

UDum opus est; operi non datur unus honos.

19 uaces. 34 Faunus.

V. vi

The triumph of Actium.

Saci-a facit uates : sint ora fauentia sacris,
et cadat ante meos icta iuuenca focos.

serta Philetaeis certet Eomana corymbis,
et Cyrenaeas urna ministret aquas.

liber r; 37

costum molle date et blandi mini turis honores, 5

terque focum circa laneus orbis oat.
spargite me lyniphis, carmenque recentibus aris

tibia Mygdoniis libet eburna cadis,
ite procul fraudes ; alio sint aere nozae :

pura nouom uati.laurea mollit iter. 10

Musa, Palatini referemus Apollinis aedeni :

res est, Calliope, digna fauore tuo.
Caesaris in nomen ducuntur carmina : Caesar

dam canitur, quaeso, Iuppiter ipse uaces.
est Phoebi fugiens Athamana ad litora portus, 15

qua sinus Ioniae murmura condit aquae,
Actia Iuleae pelagus monumenta carinae,

nautarum uotisnon operosa uia.
hue mundi coiere manus; stetit aequore moles

pinea, nee reniis aequa fauebat auis. 20

altera classis erat Teucro damnata Quirino,

pilaque femineae turpiter apta manu :
tine Augusta ratis plenis Iouis omine uelis

signaque iam patriae uincere docta suae,
tandem aciem geminos Nereus lunarat in arcus, 25

armorum et radiis picta tremebat aqua ;
cum Phoebus linquens stantem se uindice Delon

(nam tulit iratos mobilis una Notos)
astitit Augusti puppim super, et noua flamma

luxit in obliquam ter sinuata facem. 30

non ille attulerat ciines in colla solutos

aut testudineae carmen inerme lyrae,
sed quali aspexit Pelopeum Agamemnona uoltu,

egessitque auidis Borica castra rogis,

38 PROPERTI

aut qualis flexos soluit Pythona per orbes 35

serpentem, imbelles quern timuere lyrae.
mox ait *o longa mnndi seruator ab Alba,

Auguste, Hectoreis cognite maior auis,
uince mari : iam terra tuast : tibi militat areas,

et fauet ex umeris hoc onus omne meis. 40

solue metu patriam quae nunc te uindice freta

imposuit prorae publica uota tuae.
quam nisi defendes, murorum Romulus augur

ire Palatinas non bene uidit aues.
et nimium remis audent ; pro ! turpe Latinos 45

principe te fluctus regia uela pati.
nee te quod classis centenis remiget alia

ten-eat : inuito labitur ilia mari :
quodque uehunt prorae Centaurica saxa minantis,

tigna caua et pictos experiere metus. 50

f rangit et attollit uires in milite causa ;

quae nisi iusta subest, excutit arma pudor.
tempus adest ; conmitte rates : ego temporis auctor

ducam laurigera Iulia rostra manu.'
dixerat, et pharetrae pondus eonsumit in arcus : 55

proxima post arcus Caesaris hasta fuit.
uincit Roma fide Phoebi : dat femina poenas :

sceptra per Ionias fracta uebuntur aquas,
at pater Idalio miratur Caesar ab astro :

'sum deus, et nostri sanguinis ista fides.' 60

prosequitur cantu Triton, omnesque marinae

plauserunt circa libera signa deae.
ilia petit Nilum cumba male nixa fugaci,

hoc unum, iusso non moritura die.

LIBER V. 39

di melius ! quantus mulier foret una triumphus 65

ductus erat per quad ante Iugurtha uias.
Actius hinc traxit Phoebus monumenta, quod eius

una decern uicit missa sagitta rates,
bella satis cecini : citharam iam poscit Apollo

motor et ad placidos exuit arma choros. 70

Candida nunc molli subeant conuiuia luco,

blanditiaeque fluant per mea colla rosae,
uinaque fundantur prelis elisa Falernis,

terque lauet nostras spica Cilissa comas,
ingenium potis irritet Musa poetis : 75

Bacche, soles Phoebo fertilis esse tuo.
ille paludosos memoret seruire Sugambros ;

Cepheam bic Meroen fuscaque regna canat,
hie referat sero confessum foedere Partbum :

'reddat signa Remi, mox dabit ipse sua : 80

sine aliquid pharetris Augustus parcet Eois,

differat in pueros ista tropaea suos.
gaude, Crasse, nigras si quid sapis inter barenas:

ire per Eupbraten ad tua busta licet. 1
sic noctem patera, sic ducam carmine, donee 8$

iniciat radios in mea uina dies.

3 cera. 22 feminea turpiter acta manu.

75 positis.

40 PROPERTI

9

V. xi
Cornelia's Defence.

Desine, Paulle, meum lacrimis urgere sepulcrum:

panditur ad nullas ianua nigra preces.
cum semel infernas intrarunt funera leges,

non exorato stant adamante uiae.
te licet orantem fuscae deus audiat aulae: 5

nempe tuas lacrimas litora surda bibent.
uota mouent superos : ubi portitor aera recepit,

obserat umbrosos lurida porta rogos.
sic maestae cecinere tubae, cuin subdita nostrum

detraheret lecto fax inimica caput. 10

quid mini coniugium Paulli, quid currus auoruin

profuit aut famae pignera tanta meae?
num minus immites habuit Cornelia Parcas,

et sum, quod digitis quinque leuatur, onus?
daamatae noctes et uos uada lenta paludes, 15

et quaecumque meos implicat unda pedes,
immatura licet, tamen hue non noxia ueni:

det pater hie umbrae mollia iura meae,
aut, si quis posita iudex sedet Aeacns urna,

in mea sortita uindicet ossa pila : 20

adsideant fratres : iuxta Minoida sellam

Eumenidum intento turba seuera foro.
Sisyphe, mole uaces; taceant Ixionis orbes;

fallax Tantaleo corripere ore liquor;
Cerberus et nullas hodie petat improbus umbras, 25

et iaceat tacita laxa catena sera.

LIBER V. 41

ipsa loquor pro me : si fallo, poena sororum "

infelix uineros urgeat urna meos.
si cui fama fuit per auita tropaea decori,

Afra Numantinos regna loquontur auos : 30

altera maternos exaequat turba Libones,

et domus est titulis utraque fulta suis.
mox, ubi iam facibus cessit praetexta mantL*,

uinxit et acceptas altera uitta comas,
iungor> Paulle, tuo sic discessura cubili : 35

in lapide hoc uni nupta fuisse legar.
testor maiorum cineres tibi, Roma, colendos,

sub quorum titulis, Africa, tonsa iaces,
et Persenx proaui stimulantem pectus A chilli

quique tumens proauo fregit Achille domos, 40
me neque censurae legem mollisse nee ulla

labe mea uestros erubuisse focos.
non fuit exuuiis tantis Cornelia damnum :

quin et erat magnae pars imitanda domus.
nee mea mutatast aetas, sine crimine totast : 45

uiximus insignes inter utramque facem.
mi natura dedit leges a sanguine ductas,

ne possem melior iudicis esse metu.
quaelibet austeras de me ferat urna tabellas ;

turpior adsessu non erit ulla meo, 50

uel tu quae tardam mouisti fune Cybeben,

Claudia, turritae rara ministra deae,
uel cui, commissos cum Vesta reposceret ignes,

exhibuit uiuos carbasus alba focos.
nee te, dulce caput, mater Scribonia, laeai? ; 55

in me mutatum quid nisi fata uelis ?

42 PROPERTI

maternia laudor lacrimis urbiaque querelis,

defenBa et gemitu Caeaaria oaaa mea.
ille sua nata dignain uixisse Hororem
i increpat, et lacriraaa uidimua ire deo. &

et tamen emerui generosoa uestia honores,

neo mea de sterili facta raptna domo.
tn, Lepide, et tu, Panlle, moum post, fata leuamen

condita aunt uoatro liimina noatia aiim.
uidimus et fiat rem sellam gominaaae cuiulem ; 6

consuls quo laeto tempore rapta soror.
filia, tu specimen censurae nata paternae,

fac teneas nnnm noa imitata uirwn.
et aerie fuleite genua : mihi cumba nolentt

aoluitur aucturia tot mea facta meia. 1

haec est feminei merces extrema triumph!,

laudat ubi emeritum libera fatna rogum.
nunc tibi commendo eommunia pignera natoa :

liaec cura et cineri spirat inuata meo.
fungere maternis uicibus, pater : ilia meorum ;

omnia erit collo turba ferenda tuo.
oacula cum dederis tua flentibus, adice matris :

tota domua ooepit nunc onus esse tuum.
et si quid dolitorus eria, sine testibuB illis :

cum uenieot, siocia oacnla falle genia. 8

Bat tibi sint noctea quaa do me, Paulle, fatiges,

. ■ ■ . uiaque in faciem credita saepe meam :
atque ubi secreto nostra ad simulacra loqueris,

ut responsnrae singula uerba iace.
seu men adueranm mntarit ianua tectum, S.

aederit et nostra cauta nouerca toro,

aederit

LIBER V. 43

coniagium, pueri, laudato et ferte paternum :

capta dabit uestris moribus ilia manus.
nee matrem landate nimis : conlata priori

uertet in offensas libera uerba suas. 90

sea memor ille mea contentus manserit umbra

et tanti cineres duxerit esse meos,
discite uenturam iam nunc sentire senectam,

caelibis ad curas nee uacet ulla uia.
quod mihi detractumst, uestros aceedat ad annos : 95

prole mea Paullum sic iuuet esse senem.
et bene habet : numquam mater lugubria sumpsi :

uenit in exequias tota caterua nieas.
causa peroratast. flentes me surgite, testes,

dum pretium uitae grata rependit humus. 100
moribus et caelum patuit : sim digna merendo,

cuius honoratis ossa uehantur auis.

8 herbosos. 13 habui.

24 Tantaleus corripiare. 89 simulantem.

40 tuas. 70 fata. 102 aquU.

NOTES.

i. i.

Introduction.

This elegy was prefixed to the first book of poems which
Propertiua published under the name of Cynthia. The poet
intended it to serve as a preface to the Cynthia poems, as is
clear from the pointed references to it in iv. 24 which comme-
morates the poet's final release from the attachment whose
early wretchedness is depicted here. Written after a year of
tyranny on the part of Cynthia and patient submissive waiting
on that of Propertius, it shews a strong and slighted passion
sinking into a dull and resourceless despair. This year was
probably that year of separation, for which see Introduction ;
compare w. 7, 35—88 and notes. The poem is addressed to
TnUus, for whom see Introduction. This melancholy begin-
mng, in strong contrast with those of Tibullus, Lygdamus and
Ovid, is in keeping with the Propertian genius.

Abgument.

Cynthia first subdued me (1, 2). My subjection has been
complete. My love has warped my soul and wrecked my life
(B--r6). Even continued disappointments cannot cure it (7, 8).
Milanion's love for Atalanta was once as fierce and hopeless as
mine : but it prompted him to exertions which were successful
at the last (9—16). Mine is dull and uninventive (17, 18).
Ordinary aid is in vain : let magic help me if it can (19 — 24).
Advice is too late, my friends, now : find some remedy, however
severe, for this stifling passion (25 — 28). Take me where no
woman can follow: let the fortunate stay at home (29—32).
My darling is always reviling me : my love is spurned, but it
continues (83, 84), Be warned by my woe, happy lovers, and be
withf ul lest you repent it (35— end).

46 NOTES. I. i.

1. 2. 'It was Cynthia first with those sweet eyes that madl
me, poor wretch, her prey : till then no shafts of desire \m
thrilled through my heart. 1 Cynthia, see Introduction,
prima, i.e. exclusive of the passing fancy for Lyciram
Introduction. miseram strikes the key-note' of the elegy
and the attachment, see Introduction. ceplt =elXor Meie-
ager (see below) : n. 3. 9 nee me tarn faciei, quamuis sit Candida*
cepit; im. Ov. M. 14. 372 per o tua lumina, dixit, quad
mea ceperunt. Compare the pretty conceit in Meleager (57)
Anth. Gr. 12. 113 kout6s *Epm 6 irravbi iv odd 4 pi biafuo* ijX«
dypcvScls tois aois ofifiaat, Ttjldpiov. ocellls, the dimin. of erotic
poetry and domestic life.

2. contactum unites the senses of (1) reach, hit, Aen.5.
509 auem contingere ferro, and (2) taint, by communicating
poison; of. m. 3. 19 intactos Uto satiu* temptare ueneno
and v. 12 nee quisquam ex iUo uolnere * anus obit. In the
same connexion Ov. M. 9. 483 quam me manifesta libido con-
tig it. contactum nullls ante cupi<n\nibus=T60oti drpt*-
to? Meleag.

8 — 6. 'It was then Love's God cast down my looks of
resolute disdain, and trod my neck beneath his feet : till he
taught me in his wantonness to hate chaste beauty, and to lire
without a plan.'

3. deledt, l effecit ut deicerentur* ; Prop, more suo, see
Introduction, omitting a link in the conception : of. Theocr. 2.
112 kcU ft iffidutp uaropyos, exl %^ ov ^ oftfiara wd£as. Im. Ov.
Her. 11. 35 erubui gremioque pudor deiecit oeellos. For sense
cf. in. 28 (22). 9 (Amor) tollere numquam te patietur humo lumina
capta semel. lumlna fastua =ro 5' iv 6<f>pv<n /teiro ippvaypn
Meleag.; cf. Plin. N. H. 11. 37. 51. 138 superbia aliubi concep*
taculum ted hie (in superciliis) sedem hdbet. fastua = 'in-
definite gen. of kind'or contents' Boby 1304 ; see Introduction,

4. caput imposltis presslt pedlbus = voaal vara Meleag.,
as a victor on his fallen enemy, cf. in. 28 (22). 7 sqq. ; imitated
Ov. M. 8. 424 ipse pede imposito caput exitiabile pressit. Yv.
3—6 are a close imitation of Meleager Anth. Gr, 12. 101 (cf. id.
Anth. 12. 48),

rbv fit tt60ols arpvrop vtt6 <rr4fwot<rt Mtf<r*of

Sfifuuri ro£eu<ras rovr' c/fcbprei' twos'
rbr Opaovp eTXor eytb. to b" ex 6<f>ptiai kcIvq <pp6ay/ia

<TK7jrTpo<p6pov aortas, fylde, ttovvI irarv.

0TOTE8. I. I 47

5. castas paellas, not 'as prudes' P. which gives a wrong
turn to the sense. It is to be taken closely with v. 6. Cynthia's
severe punishment of Properties' one breach of faith (cf. v.
7 n.) had driven him into unworthier attachments {=quaerere
uiles, in. 18 (15). 9, <fec).

6. lmprobus, cruel and shameless; cf. Virg. Eel. 8, 60
puer improbus (of Love), and Aen. 2. 80 improba (Fortuna).
nullo conslllo, aimlessly, recklessly. In Cio. Inv. 1. 34. 58
Umere et nullo consilio is opposed to ratione; cf. in, 3. 4.

7. 8. ' And now after a whole year this my madness is not
spent, yea though I am forced to have the gods against me,'

7. toto anno. So again in rv. 15 (16). 9 peccaram semel
et to turn sum pulsus in annum,

8. tamen, in the protasis like Gr. S/kos; cf. Ov, M. 2. 782
quamuis tamen oderat Mam, talibus affatast breuiter Tri-
tenia dictis. cogor, by an inexorable fate. But observe that
cogor tends to become a mere auxiliary in Prop, j see Intro-
duction, habere, cf. v. 11, 13 n.

9 — 16. 'Milanion, friend Tullus, by shrinking from no
toil broke the stubborn cruelty of the daughter of Iasus.
He sometimes wandered in Parthenian dells, distraught with
love, and went to face the shaggy wild beasts; he was stricken
too with a wound from the branch Hylaeus bore, and on Arca-
dian rooks he moaned in pain. Therefore could he achieve the
taming of the swift-footed maiden ; such power in love have
prayers and deeds of merit.'

9. Milanion; the lover of the Arcadian Atalanta, the
daughter of Iasus (Iasius, Iasion). According to Prop, whom
Ovid follows, A. A 2. 185, a passage modelled on this, he
owed his success to helping her in hunting and against the
Centaur Hylaeus.

10. saeultlam is explained by dnrae. A. was cruel be-
cause unyielding. contudlt, of breaking in animals ; cf,
Tib. (?) 3. 6. 13 ille (Bacchus) ferocem contudit et dominae misit
in arbitrium and Ov. A. A. 1. 12.

11. modo, answered by etiam 1. 13. ParthenUs, of Par-
thenium, the mountain on which Atalanta had been exposed,
antrls, 4 mountain dells' ; cf. v. 4. 3 lucus * * hederoso conditm
antro, v. 9. 33 luci antro, a wooded dell, and other passages.
Comp,el..3 v lln, - v ; v ,., >

-3: \ .v,^

u

48 NOTES. L L

12. Ala, emphatic (like MUamon, v. 9)= 'unlike myself.'
vJdere, nearly =*adire, experiri'; cf. Aen. 6. 134 bis nign
uidere Tartara, Aen. 8. 431 informem uasto uidisse *«& antr*
Scyllam. The inf. is a Giaeeism for the supine, Boby 1362.

13. HylaeL Prob. an adj., agreeing with rami ; cf. m. 8
(7). 8 $axo Cerauno for Ceraunio; Aen. 4. 552 eineri Siehaeo
tot Sichaeio. Prop, is very fond of catting his proper names
down. percustus uolnere rami, cf. Cic. Ac 1. 3. 11 fortunae
grauissimo percustus uolnere (v. L perculsus). Silius imitates
Prop. Punic. 5. 251 o£ simuJ in/esto Lateranum uulnere trun-
eae arbor i$ urguebat. rami, a stripped or unstripped
bough, the primitive club. Centaurs are seen fighting with such
weapons on ancient monuments ; cf. v. 9. 15 (of Hercules' club).
Ovid (A. A. 1. c.) says however sensit et Hylaei contentxm
eaucius arcum.

14. sauduf marks rather the effect of the wound than the
wound itself; cf. the ira. in Ov. A. A. 1. 169 saucius ingemuit
telumque uolatile 8 ens it. Arcadlis rupibus. Mr Reid sug-
gests that this is a dat., which is very possible, as Properties is
fond of introducing these appeals to inanimate nature ; ef . l
20. 16, <feo. It seems to me however that the moan of physical
pain, when its cause is specified as here, is not naturally
addressed to anything ; and this view is not discountenanced
by the passages in Ovid.

15. potuit domulsae. P. wrongly " potuit domare would
probably mean * he might have vanquished her.' " Both p.
domare and p, domuiue^'he could tame;' but domuitse lays
more emphasis on the completing of the action, Boby 1371.
This use of the perfect in verse is probably determined in
great part by metrical reasons, as it is rare in classical prose,
uelooam, an allusion to the foot-race in which Prop, hints
Atalanta was willing to be beaten, uelocem puellam in Ov.
lb. 371.

16. bene facta, cf. Virg. G. 3. 525 quid labor out bene
facta iuuanit quid uomere Urrat inuertisse graucs ; n. 1. 24
bene facta Mori ; Ov. A. ALo. succubuit meritis trux tame*
\lla u*ru

17. 18. * With me slow-witted Love plans no devices, and
forgets him to travel, as formerly, on his wonted paths.'

17. tame 'in my case.' Ct Aen. 2. 541 at mm ** Achilla
ten* t» kotUfmit Priamoy and compare m. 3. 13.

~ , fifmUti tardus ammr in a different sense i. 7. 26.

NOTES. I. i. 49

cogltat ' ponder over ' for the purpose of devising : Cio. Cat. 2.
9. 20 proscriptiones ac dictaturas c ogitare.

18. nee memlnlt, cf. 1. 10. 2o\ nlas, the ways of inspiring-
affection, cf. Achill. Tat. 1. 9 rt \4y<a; rl irotcS; xm <zr r^xotfu
ttis ipwfjUnis; ov yap ofta ras odous, Cic. Leg. 1. 6. 18 non
tarn iustitiae quam litigandi uias.

19 — 24. ' Come ye whose deceit would draw the moon from
the aky, whose task it is to perfect solemn rites over the magic
fire, come and turn the heart of my lady and make her paler
than my face is pale. Then I might trust your boast that ye
can lead the stars and the rivers with Cytinian spells.'

19. at, in sudden apostrophe as e. g. iv. 18 (19) 25 at taw, in-
nttptae, felicius write taedas. deductae qu. e. faii^H lunae.
Whether Prop, meant (1) ' who bewitch the moon into coming
down,' or (2j 'who dupe men by pretending to have brought
down the moon,' the expression is very harsh. The context
favours (2). The gen. is one of definition (Roby 1302) 4 who
use the-descent-of-the-moon-trick.' For the part, deductae,
where the gerundive is more usual, see Introduction. It is to
be observed that the forms in -dus are awkward in verse. On
the other hand the apparent imitation in Ov. M. 13. 163
sumptae fa 11 act a uestis (of Achilles disguised as a woman)
favours (1).

20. plare, 'pie facere ' KaOaylfeiv, dyvlfar, P. labor est
plare, for this constr. cf. i. 2. 23 n.

21. en = tfou Meleaper; see Introduction. conuertlte,
Aen. 2. 73 quo gemitu conuersi animi, cf, x, 15. 23 tuos con-
uertere mores,

22. fadte palleat, for the constr. see Roby 1606. meo
ore. The point of comparison is often substituted by Propertius
for the thing compared. So also in Tac Ann. 1. 13 L.
Arruntius haud multum discrepans a Galli oratione.

23. crediderim nobis ducere. For the omission of ties, which
is easily supplied from nobis, of. i. 4. 1 and Introduction.

24. ducere, ' guide, draw after them ' i<j>4\Kc<r0ai. Cyti-
naeis, Hertzberg's certain conjecture for the ms. Cythalims,
Oytallinis, &c, Cytina being a town in Thessaly mentioned by
Lycophr. 1389 Aaxfidnnol re ical Kvtwcuoi, K6dpoi and Steph.
Byz. s. v. The reference to this line in the palinode, rv. 24.
10 n. Thessala saga seems conclusive. The other conjectures
Cptaines (Medea, so called from Cyta or Cytaea a town in
Colchis) and CytaeaeU (Colchicis) are unsupported.

P, P. 4

50 NOTES. I. i.

25 — 28. ' And you, my friends, whose voice recalls too late
a fallen man, seek some help for the fever of my breast
Bravely will I bear the steel and the torturing fire, let me have
but freedom to utter the promptings of my wrath.'

25. et, as P. rightly with the mss. for aut edd. lapsnm
reuocatis, im. Quint. 2. 6. 2 plus proderit demonstrasse rectam
protinus uiam quam reuocare ab errore iam lapsos. lap-
sum, of love; cf. I. 13. 8 primo lapsus abire gradu and Plant.
Cist. 2. 1. 11 amor me lap sum animi ludificat. amid, patrii
amid in the palinode iv. 24. 9.

26. non sani, cf. contactum v. 2 and n. auxilla, * reme-
dies '; i.e. any remedy; cf. Ov. K. A. 48 uulneris aux ilium,
Prop. iv. 21. 9, Cels. 2. 11. Compare for the sense Meleager
Anth. 12. 85 dXXd (pLXy, £c?voi, fiaibr irapK^irare, aptcfoaf,
w 1-eivQi.

27. et ferrum saeuos et lgnes, i.e. the knife and cautery of
the surgeon (auxiliator Stat. Silv. 3. 4. 24), imitated Ov. Her.
20. 185 ut ualeant aliae, ferrum patiuntur et ignes and else-
where, Senec. Ag. 21 et ferrum et ignis saepe medicinae locost,
Claud. Eutr. 2. 14. The expression became almost proverbial,
as rifwtiv koX KaUtv in Gr. It is perh. from Soph. Track 1016
Kal vvv iirl rfde vocovvti ov jrvp ovd' &y%os rt$ or*iaifji.ov owe
4viTp4rf/ei ;

28. llbertas loqui, a rare constr. It is also found in Cic.
Acad. 2. 38. 120 quanti libertas ipsa aestimanda est non mihi
necesse esse quod tibi est? and in Val. Fl. 1. 601 ; also in rv.
14 (15). 4. In Quintilian and the Plinies liberum est is found
with an inf. For the sense cf. i. 5. 14, 17.

29 — end. ' Carry me through furthest lands or carry me over
the waves where no woman may know my way. Stay ye behind to
whom heaven has bent with favouring ear, and may ye remain
for ever meetly mated in safe love. Against me my darling
plies her bitter speech and unsatisfied passion never flags.
Shun, I warn you, this evil : let each hold fast to his fancy's
queen nor shift his ground from a familiar love. Yet if any
turn a slow ear to the warning, oh with what a pang will he
recall my words!'

29. We are again reminded of Meleager Anth. Gr. 5. 161
xal xvpl koI vi<p€T(ji fie ical el fiovXoio Kepavvy fidXke xal els xpryt-
yovs p&Kke xal els reX&yrj.

81. remanete, 'stay behind'; not t as P. seems to prefer,
* remain constant to each other.' remanere is especially appii-

J

NOTES. I. i. 61

cable to remaining in Borne ; cf. Suet. Aug. 43. facili aure,
opp. to mrda aure in. 8 (7). 43. pares 'well matched/ Cf.
i. 5. 2 n. *

33. in me nostra Venus noctes exercet amaras. The
edd. (Baehrens excepted) do not seem to have grasped the
difficulty of the ms. reading. It must mean (1) ' My love plies
bitter nights, as a weapon, against me' — an unexampled use of
exercet or (2) 'in my case my love passes bitter nights' — a
tautology not excused by in. 24. 25 de te nostras me laedit ad
awes. Hence I prefer uoces. In enumerating the troubles of
his love Prop, would not forget the cruel temper of his mistress:
see Introd. For more see my paper in the Journal of Philology,
Vol. ix. p. 62. [F. Plessis and H. Magnus, who compares Kerne-
sianus Eel. n. 56, independently take n. V. 'the Goddess whom
we lovers serve*' This removes a good deal of the harshness.]

34. uacuus probably 'ungratified,' almost = t fructu amoris
tgens* rv. 20. 20, and so opp. toplenus in. 20 (17). 21 tu quo-
que qui pleno fastus adsumis amore: cf. Ov. M. 7. 786 uacuos
exercet in aera morsus. Not far removed is iv. 16 (17). 11
uacuos nox sobria torquet amantes, and the use oiuacuae for
single women or widows Tac. A. 13. 44, Ov. M. 14. 831. Another
way is to take uacuus closely with dent ' fails and rests.' Cf. i.
9. 27, and for the form of expression, a negative with several
words taken in conjunction, i. 10. 30 qui numquam. uacuo
pectore liber eriU

35. 36. cura, 'source of care (cura), object of affection' =

Gr. fUXrifia ; cf. in. 32 (26). 9, &c, Ov. Am. 3. 9. 32 altera

(the one) cura recens, altera primus amor. For cura cf. in.

B. 4 n. moretur, ' cum uoluptate detineat? cf . 1. 11. 10.

mutet locum, cf. Plin. N. H. 2. 48. 49. 132 locum ex locomutans.

adsueto amore is the Propertian extended use of the abl. of

'attendant circumstances,' 'when love is grown familiar'; cf.

Introduction, hoc malum, i.e. anguish like mine ; not exilium.
as P.

37. tardas aures. Cf. x. 8. 41 n.

38. heu. Most writers would have suppressed the sigh as
their warning was disregarded : not so Propertius. See Intro-
duction, referet, 'recall'; not 'repeat' which P. offers as an
alternative. Cf. Ov. M. 1. 165. Recollection is regarded as
mental repetition just as thought is mental speech (\6705).

4—2

VOTES. I. U.

ImBODBCTIOX 1M> ABODKBIir.

A gentle expostulation with Cynthia on her love of drew.
Theae protests of the poet were probably as inefficacious as
the; were frequent; nee Introduction.

Properthu. 'Why this love of finery, Cynthia t Tom
beauty cannot be improved (1—8). Learn this lesson from
nature (9—14) and the heroines of old. Chastity was orna-
ment enough for them ' (16 — 24).

Cynthia. 'You are not likely to think me Inferior to those
heroines' (25).

Properriui. ■ If yon satisfy mi, you are adorned enough (28).
Besides, your native gifts are sufficiently enthralling. They
will keep me true to yon if you do not plunge into folly
(27—33).

1 — 6, ' What joy is it, my life, to more with tired hair, or
to sway the fine folds of the Coan robe? Or what to drench
thy locks in the myrrh of Orontes, and to blazon thyself with
alien gifts ; to mar the grace of nature with bought embellish-
ment, and not to suffer thy limbs to shine in their own rich
dower ? Believe me there is no improving thy fair form. Loyb
id naked, and loves not the artist in beauty.*

1. oraato, ' dressed,' not necessarily 'decorated,' though
this was usually done ! see Beck. Gall. p. 439. procedan,

'pace, move majestically'; of. Ov. A. A. 8. 165 ftmiiia pro-
cedit dtmiuima crini'itis enplii and Hot. S. 8. 8. 14. A slow
gait, like the rest mentioned sere, was a lover's device. Cf. n.
4. 15, 16 (o, 6) ntquiqitam ptrfuta mtit tutguenta eapiilU, ibat
tt txptneo plant a mora (a gradu. ulta, 'the source of

my life, yon that are as dear to me as life '= Or. jvi). As a form
nf iiililivK!;, it is found in Plautus, Catullus, e.g. 68. 154 (where
in non. cf. Ellis ad lac.) and frequently in Prop.

ft, Coa Mate. Not to be explained by supplying induta, as
P. suggests, an impossible ellipse, bnt almost = Coae tuitit, an
extension of the abl. of material (description, Roby 1232): cf.
l 4. 13 multU dtau ariibui, and hi. 5. 7 (4. 23) n. It may
be also explained as an ahL of place, which would come to the
s, of thin transparent silk. monere, the

it of the wearer.

NOTES. I iL 03

Plant. Epid. 3. 3. 61 eum quam qui undantem chlamydem
quassando facit.

3. Orontea. Antioch on the Orontes was the emporium
from which the produce of Arabia was shipped for Borne.

4. peregrin!*, ' foreign, outlandish/ here in a disparaging
sense; ct Suet. Jul. 43, who says Julius Caesar first taxed
imported luxuries (peregrinarum mercium portoria institutsse,
adeo corruptissima republica luxus Romanorum inuoluerat).
snmerlbus, ' graces, endowments.' peregrinis shews they are
not the natural munera of in. 2. 3 <ftc. But see note on in.
5. 14. uendere, 'endeavour to sell/ 'get up for sale.'
For the inceptive force of the verb cf. n. 8. 4 ipsum me iugula;
lenior Jiostis ero, i. e. try to kill me. It is given by the fre-
quentative prefix in uenditare.

5. mercato. For a list of deponent verbs with passive
participles see Boby 734, and for mercatus v. 5. 32. perdere.
So Tib. 1. 9. 17 auro ne pollue formam, and Seneca Consol.
Helv. 16, in a passage evidently modelled on this elegy, non
faciem lenociniis (cf. uendere supr.) ac coloribus polluisti :
numquam tibi placuit uestis quae nihil amplius quam nudam
cmponeret (i. e. a Coa uestis) : unicum tibi ornamentum pul-
cherrima et nulli obnoxia arti forma : maximum decus uisa
utpudicitia (see v. 24).

6. Cynthia moves in an atmosphere of beauty; cf. Byron
1 She walks in beauty like the night.' A bolder use is m. 16
1 (13. 44) in nullo ponder e uerba loqui. proprlls bonis,
' natural advantages/ For bona in this sense cf . n. 3. 28 : im.
Ov. (?) Her. 21. 38 proprio uulneror ipsa bono.

7. tuae est. N. reads tua est, which gives a very good
sense, 'Your way of improving beauty is worthless.' Cf. Cic.
Orat. 17. 56 si enim eloquentia nulla sine hoc, haec autem sine
eloquentia tanta est. medl&na, verbal =medicatio; cf. rv.
16 (17). 4 curarum tuo fit medicina mero. figurae,
form and the beauty of form; a Greek turn of thought, recalling
the gymnasia. See Ellis on Catull. 63. 62, and cf. in. 19. 25
(16. 41) credo ego non paueos ista periisse figura, and for the
sense in. 11. 8 (9. 25) ut natura dedit, sic omnis recta figurast
and the epigram in the AnthoL Lat. x. p. 641 (Burm.) augeri
studio tarn bona forma nequit.

8. nudus, because without disguises; cf. Hor. Od. 1. 24. 7
nudaque Veritas. Prop, often lays a strong emphasis on his
adjectives ; el Introduction. Amor non amat, a false

•» humanot lanat midicina dolores : solus amor morbi
non amat artificem. forms* artlflcem, 'an eipert in.'

Cf. morbi arttjkem already quoted, and for the gen., ' thing in
point of which,' Roby 1320. Compare for the sense the imita-
tion in Ovid. Am. 1. 10. IS, 16 et puer tst et nudm Amor :
tint sordibus aimot et imllat ueitet, ut lit apertttt, habet.

9 — 14. ' See the colours that the fair earth rears ; Bee how
the ivy shoots grow best at their own free will ; how the arhnte
springs more lovely in lonely mountain dells and with untaught
skill the stream runs on its nay. With pebbles from nature's
hand the shores are bright beyond compare, and the birds sing
sweeter that they sing untrained.'

9. Hnmmlttat, itairiuret. Lacr. 1. 7 dacdala tellue tttb-
mittit fares. Some mss. -it. If right, the change of mood,
submittif — ueniant, is not due to any essential difference of
meaning, bat is a relic of a time when, as in Old Latin, the
distinction between facts regarded as facts and as conceptions
had not been evolved. Cf. iv. 3. 4 (5). 25 — 16 where the snbj.
and ind*. are used indifferently throughout, and compare Intro-
duction. Draeger Hist. Synt. n. 433 follg. colore*. Cf.
Tib. 1. A. 29 quam cito purpureas deperdit terra colorei.
Columella 10. 176 et qnos mills parit diaes natura colorei
dirponat plantis alitor quos temine seuit,

10. ut, mbs. et. ueniant sponte sua, from Virg. G.
2. 9: 0. 1. Hillie ueniunt felieius una* seems to have sag-
gested to Lschmann his emendation felicius for formotius in v.
11. uenire is frequently need by Prop, where some more defi-
nite word must be need to translate it. Cf. Introduction.
melius, 'better,' i.e. than when cultivated; cf. Virg. quoted
above and iv. 10 (11}. 5. The comparative in such cases is
nearly a superlative ; so in Gr. as Pind. Nem. 11. ult. irpoc-
litruip iF ipCiTUf oJiJts/mi pv>tai, 'passing fierce is the madness
of unattainiiLk dosirea.'

11. sursat. Sea note on el. 20. 37. formoslua. The
adj. is more usual in such connexions, and the adverbial forms
from fonrwsus are very rare. Bee however for a similar use
and for fonnosius as an adv. Quint. 8. S. 10 in orbem se for-
mosiuifimdct (of the olive). antrls. See el. 1. 11 n. The
arbutus of course does not grow in caves.

NOTES. I. ii 55

kennen. The idea is at the root of the Socratio doctrine that
vice is merely ignorance. lndoclles, ' untaught.' Of the

thing done, here and Ov. Tr. 4. 1. 6 in doe Hi numcro, of.
Gic. Acad. 2. 1. 3 indocilem usus disciplinam; of the agent
Hor. Od. 1. 1. 18 indocilis pauperiem pati and Ov. Tr. 3. 12.
8 indocili gutture uernat auU. It is opposed to doctus,
which is applied to rivers that have been banked in, &c. ; cf.
Hor. A. P. SQfluuiu8 doctus iter melius.

13. penuadent. This, the reading of all mss. except G.
which has collucent, a manifest correction, is obviously corrupt.
Various emendations have been proposed of which the one in
the text is that of Hertzb., praelucent; it='to transcend in
shining, to shine very brightly'; cf. Plin. N. H. 32. 10. 52. 141
baculum praelucet. It is not satisfactory, though better than
Scaliger's per se dent — canant, for which cf. in. 32 (26). 49 nee
tu tarn duros per te patieris amores, and Palmier's (not 'Pal-
mer's* P.) persqualent.

14. nulla arte, r§ /irj fyctp rtyw ' q n0a * nulla ars adest ' :
for the use of the neg. cf. Ov. M. 8. 683, et ueniam dapibus
null i 8 que paratibus orant (the want of preparation); for
the abl. cf. Introduction.

15 — 20. 'Not thus did Phoebe, the daughter of Leucippus,
fire Castor's heart ; not by attire did Hilaira, her sister, win
Pollux ; not thus did the daughter of Evenus sow strife in days
of old betwixt Idas and lovesick Phoebus on the shores of her
father's stream; nor did Hippodamia, whom the stranger's
wheels bore away, allure her Phrygian spouse by a lying fair-
ness.'

15. 16. Phoebe and Hilaira, the daughters of Leucippus
had been betrothed to Lynceus and Idas. Castor and Pollux
carried them off and were pursued by Lynceus and Idas. In
the fight that ensued (see Theocr. 22. 137 sqq., Ov. Fast. 5.
700 sqq.) three of the four were killed, but Castor was rescued
from death by Pollux sharing with him his own immortality,
succendit, so in the pass. iv. 18. (19). 15 patria succensa
tenecta Myrrha.

17. cupldo, ' eager and full of desire.' Cf. Tib. 2. 5. 54.
discordia, in apposition to filia, 'source of discord.' Cf. Intro-
duction. With non a verb is to be supplied from the context :
cf . Introduction.

18. Eueni filia. Marpessa who was carried off by Idas.
Her father pursued them; but, not overtaking them, threw him*

56 NOTES. I. ii.

self in bis chagrin into the river Evenus, which was so named
from him. Near the river Phoebus fell in with Idas and took
Marpessa front him ; bat according to one account she was
afterwards restored. Utorlbui, litut for ripa as in Aen. 8. 83
and elsewhere. So in Greek Find. N. 9. ID rap irriut 'EXtapm.

19. Phrygium moiitum, Ptlopi; who according to one
tradition was expelled by Has from his native town Sipylua in
Phrygia and' emigrated to Pisa : and according to the well-
known legend won Eippodamia for his wife by conquering her
father OenomaaB in the chariot race. false candors. Gf- it.
24. 8 quaeiitm candor where see note. traxit, 'drew his
affections to herself.' So of spells, it. 5 (6). 37, 28 ilium
turgentis rartae portenta rabetae et lecta extctit anguibus una

20. externls rotls. On the car which hod just been vie.
torious (cum uictore Ov. infr.). I do not understand what F.
means by saying ' by the stranger Pelopa in Vie chariot race '
(the italics are mine). Eippodamia was the prize and not a
passenger in the chariot race ; and the Lat. could not possibly
mean 'through the victory of a stranger's oar.' The epithet
exterats is softened down by Ovid in his imitation A. A. 2. 7, 8
tt curru viclore ferebat, uccta peregrinit Hip-

21 — 24. 'No! their helper was beauty that owed no debt to
jewels, like the hues in the paintings of Apelles. It was not
their one aim to hunt for lovers through the town. Chastity,
a wealth of beauty, was theirs.'

21. fades, 'beauty,' as in rn. 32 (26). 1. aderat, ' nan
present to help them.' obnaxla, probably from Virg. G.
1. 396/ra(r« radiis obnoxia funa. Ira. by Seneca L c. on t. 5.
obnoxins is literally 'exposed to a penalty {noxa)' irtuOvrm,
and with a dat. ' at the meroy of.'

22. quails, a loose connexion of sentences not uncommon
in Prop.; of. el. 16. 38, and Introduction. Apellels. Apelles
of Cob, the chief painter of antiquity and the perfeoter of the
technical part of his art. He invented a process of varnishing
Iiis pictures, which not only preserved them, but made the
colours rioher and more subdued. Ha generally painted on
panels {tabuiae), and his subjects were usually taken from the
nude. Hence the point of the comparison. tobnlisk For the
trisyllabic ending see Introduction.

23. ' Hunting for lovers was not their life's aim.' sta-
dium conqulrere. Prop, is very bold in this use of the inf. as

NOTES. I. ii. 57

the nom. to a sentence. Cf. iv. 12 (IS). 38 nee fuerat nudat
poena uidere dean and Introduction. nolgo, of. Ter.

Heaut. 8. 1. 38 uictum uolgo quaerere in a similar connexion.

24. See Seneca quoted on v. 5.

26 — 32. "'I fear not now that thou should' at hold me
cheaper than those heroines of thine.' Whosoever finds favour
in one lover's eyes, that maiden is decked enough ; and thou
especially, since to thee beyond all others Phoebus grants his
power of song and Calliope her Aonian lyre with hearty will,
and on thy pleasant talk there waits a matchless charm, yea
all that Venus and all that Minerva commends. These gifts
will make thee ever the darling of my life, if thou wilt but
scorn the wretched ways of fashion."

25. I have punctuated this line so as to mark that it is an
interruption of Cynthia's. She is supposed to say 'I am not
afraid of your preferring your heroines to me. I am sure of
you. I dress for others.' Prop, replies 'A maid is adorned
enough if she find favour in one lover's eyes. 1 For a similar
dialogue between Propertius and Cynthia see bk. in. 20 (17).
non ego nunc uereor is a favourite phrase with Prop. See
i. 6. 1, i. 19. 1, &c, and cf. Introduction. uilior, with dat.
as in Ov. Her. 12. 187 si tibi sum uilis. istis, with a cer-
tain contempt.

27. cum tibl. A step in the argument is omitted. Cf. the
trans, and argument and compare Introduction. cajinlna,
' power of song/ a thoroughly Latin brachylogy : cf. Pott's Lat.
Prose, p. 32. For a somewhat similar expression see v. 1. 133
turn tibi pauca suo de carmine dictat Apollo. For Cynthia's
accomplishments see Introduction.

28. Aonlam lyram, imitated Ov. Am. 1. 1. 12 Aoniam
Marie mouente lyram. •

29. nee dealt. For this use of a double negative where the
other portions of the sentence, as here iucundis, require a posi-
tive conception— a use foreign to our idiom — see Introduction,
gratia, x^P t5 ? compare Phooylides Anal. Br. i. p. 78 oft oW
iv utidots iirerat xd/>if otir' ivipovXjj and Meleag. Anth. Gr.
5. 195 al rpuraal Xaptres rpiaabv aTcfavufxa <rvvcipat Zqpo^lXp,
rpuTvds evfxfioXa Ka\\o<Tvt>as, a fiiv M xpwrdj depAva r66ow r a 8'
1*1 ftopfds t/iepop t aSc \4you rb yXvicvpivdor tiro*. Com-
pare for the whole passage Meleager Anth. 5. 140. nerbls.
The weight of us. authority is in favour of uerbis, not dietis,
and in the only other passage where dietis occurs in Prop.

SS X0TE8. 1 a.

(v. 1. 61) it is used of written composition, Enniut hirsuta ciitgal
tun dicta corona (cf. note on el. 9. 9). On the other hand
the palpable imitation in Ov. M. 13. 127 neque abut
facundit gratia dictti slightly favours the latter word. For
Properties' fondness for verba cf. el. 8. 22 n.

30. Compare for the displacement of que i. 20. 28. It
produces a Greek rhythmical effect of which Flop, is fond. See
Introduction. quae probat, i. e. all the charms which these :
goddesses naturally regard with satisfaction; in less vague
language the attractions they typify, Venui representing the
softer, Minerva the severer ones. For the expression com-
pare an epigr. attributed to Virgil, CataL 13. 5, cut Vema ant/
aliot, dim diuomque loraret euncta ntque indigno, Muta, dedert
bona, euncta qui bus gaudet Phoebus, choral ipsegue Phoebi,
and Anal. Br. in. n. 743,

p-opifrat £ rpurelor lx sitf bwprfffa.ro Ktjrpts,

tpya &' Adnrala reprta namppoirOvas,
HoGfftL bi nal aoiplar koX TaxriSa rdf tpChipatrra*

ciiupauou iparott lufa/iifa lUXtn.

31. his. the foregoing recommendations. Cf. el. 20. 51.
nostras ultae. For this expression, w-Mch nearly=noWi dim
uiuimiu, compare iv. 10 (11). 1 quid mirare mean it uctioJ j
femina ui lam! Cf. Introduction.

S2. mlssrae luruilae 'wretched frivolity': contemptuom
like Or. biarnpot. It is loosely translated by P. ' finery thai
brings no happiness.' Inxurlae is probably the gen. sing.

Introduction.

Aiiduesseb to Callus, a friend of the poet's (see Intro-
duction), espo-ttu lilting with him for endeavouring to supplant
him in Cynthia's iilTections and pointing oat the miseries of his

Cease from towing dissension between two lover* (1, !).
fan are mnd to tempt the miseries of a love like mine (3—6)
ir the anger of my mistress (9, 10). Even if she cmueoti,
waits you (11— 30). Yon will then anas-

NOTES. I. r. 59

stand too well why I am pale and emaciated (21, 22). Your
rank will be of no avail (23, 24) and, if you betray your secret,
you will be the common talk of the town (25, 26). I shall not
be able to help you : I can only share your wretchedness (27 —
30). Therefore beware (31, 32).

1 — 6. 'Enough, thou envious man. Restrain thy unwel-
come speech and let us travel on our course, as now, hand in
hand. What does thy heart desire, madman ? To feel a frenzy
like mine ? Ah, hapless man, thou hurriest to a knowledge of
the direst woe, to tread in misery over fires thou knowest not,
to quaff all the poisons that Thessaly can brew. 1

2. cursu quo sumus, for the phr. cf. Oic. Att. 1. 1. fin. uidc
in quo cursu simus. quo for in quo is partly to be explained
as a loose use of the simple abl. such as prevails in the earlier
writers — cf . Plaut. Most. 254 suo quidque locost ?, Ennius
quo loco, curru quadriiugo — partly as a sacrifice to grammati-
cal symmetry. Prop, not unfrequently prefers correspondence
in Byntax to correspondence in thought. A striking instance
is n. 5. 28 where see note. pares, 'well mated, pulling well
together' ; properly of animals at the plough. Cf. el. 1. 32 and
iv. 25. 8 tu bene conueniens non sinis ire iugum. Theocr.
12. 15 d\\^\ovs i<t>l\Tj<rav t<r<p £uyy.

3. quid tibi.uis, Insane, word for word in a passage quoted
from C. Gracchus by Cic De Orat. 2. 67. 269. The tibi makes
the question more incisive. meos furores, ' paroxysms like
mine,' 'my frenzy with all its outbreaks'; whereas furor el. 1. 7
is the course of mad love as a whole. Some read meae referring
to Cynthia's passionate outbreaks (el. 1. 33 n.), an alteration
which is not necessary, though it lends more point to quod si
v. 9. sentire, cf. i. 9. 21.

4. properas, with inf. as Sail. Cat. 13. 2 quippe quas (sc.
diuitias) honeste habere licebat, abuti per turpitudinem pro-
per abant, 'was eager to'; comp. Boby 1344. ultima mala
= Soph. Phil. 65 i<rx<a.T i<rx&T<ov jccura.

5. lgnotos dwells on the note struck in nosse. With
Propertius the strange or unknown seems to have excited an
instinctive repulsion: cf. his uses of nouns, extemus, ignotus
and compare Introduction. To translate ignotos ' hidden,' as
P. and others, gives a wrong sense, (since Prop, is speaking of
pain, not of* danger), and also an unexampled meaning to
ignotos.

I

60 NOTES. L v.

G. toxica = rof i if and properly 'arrow poison, ' a word which,
like many other Latin borrowings, is strange to Greek litera-
ture, Thessalla, the land of witches and poisonous vegeta-
tion; of. Tib. 3. i. 56 quicquid et htrbarum Theteala terra
geril and iv. 24. 10 Tkettala aaga. Observe the imposing
vagueness of the line, an effect frequent in Propsrtius.

7 — 13. ' Set giddy girls beside her, they cannot shew her
like. Hex anger, I warn thee, is not wont to be mild. Btit if
perohanoe she is not adverse to thy hopes, yet what thousand
thousand cares will she bring thee I She will not even leave
thee thy sleep free or thine own eyes. 8he enohains the men
of proud spirit as none else can.'

7. uagls metaphorically 'giddy, light'; of. Mart. 2. 90. 1
Qtiintilicme uagae moderator lumme iuuentat. Not literal!;
as though a yiirij irrpiSf.otiot Theogn. 581. auallls conlata, for
this bracketing of words cf. Introduction.

8. solet. The Cuiaciamit has adet, a reading worth at-
tention. With it, tint belongs to fraud; if >alet is read, it is
the dat. of personal reference, 'of the person interested in a
statement' Hoby 1150. For Cynthia's temper see Introduction.

9. est, like est in v. 7, a true present, 'if her present die-
position is what you desire': it might however be for erit. Cf.
Livy5. i. 10 perficir.tur bellum ti urgemus obsestoi and Hor.
Ep. 1. 20. 7 dtcet ubi quid U lateeHt et tcil in breve te cogi.
On the consecution of tenses in Prop, see Introduction.

10. at — oXXd, a more vivid tamen: see en. in Madv. Lai.
Gr. % 437 (c). mull quanta, an illogical expression in which
tilt and number are confused. Its germ may be seen in i. 12. t
tam multa iUa meo diuita til milia lecto Quantum Uypanti
Veneto diatidet Eri&tLno, so Claud. Stil. 1. 171 tanti* milibut
Cf. Val. Fl. 5. 273 magna milia and lit. 5. 3 n.

11. Ism, i.e. it [joint will be reached at which she 'will not
leave ; cf. v. 21. voeuos. Compare A poll. Rhod. 3. 1018
mpam-ii 'Epus tjifiav diri ^X6-)/o, rfli &' ina.puyd% 6tp6aXii£ir
ijpraffi', and cf. notes on el. 9. 27 and el. 1. 3.

12. olllg-at, *tiw down' to an obstacle, makes a helpless
prisoner of: frtijiuiUly metaphorical, though not in precisely
the some connexion. una=imt«; and so nearly in v 6
23 n. Cf. tit. 8 (7). 13 temper amatorum portdentf wn« tirmi
(Palmer, with ubb.).

13 — 18. ' Ah, how oft under her soorn wilt thou hie thee to
my threshold. Then thy brave words will falter into sobs:

NOTES. I. v. 61

chill shuddering will arise and piteous weeping, and fear will
trace unsightly characters on thy face, and in thy complaining
every word thou wouldst utter will fly from thee, nor wilt thou
be able to discern who or where thou art, poor wretch ! '

14. fortla uerba : ' these be brave 'Ords,' such as Chaere-
stratus uses, Pers. 5. 161 sqq. Cf. el. 9. 2 libera uerba n. sin-
gvltar, an abl. of attendant circumstances passing into a causal
abl. : see Introduction. cadent, cf. Lucr. 4. 1182 et medi-
tata din cadat alte sumpta qutrella, Hor. Od. 4. 1. 85 cur
facunda parum decoro inter uerba cadit lingua siUntio t

15. tremulus horror, not a tautology, tremulus refers to the
quaking of the limbs, horror to the bristling of the hairs on the
body and the shuddering and chilliness accompanying; com-
pare Ov. M. 9. 345, probably a reminiscence of this passage,
nidi guttas e flore cruentas decidere et tremulo ramos horror e
moueri (where Jwrrore is to he explained of the pointing of the
leaves, as in Lucan 3. 411 arboribus $uus horror inest).
maestis 'piteous, heartbroken' ; Virg. G. 4. 515 maestis late
loca questibus implet. For the Proper tian abl. of accompani-
ment see Introduction.

16. Fear distorts the lines of the face. Hence ducet, for
which cf. Tib. 1. 6. 20 mensae ducat in orbe notas, Ov. A. A.

3. 493 ducere consuescat multas manus unafiguras. Hor. Od.

4. 2. 59, quoted by P., is different.

17. fuglent. Cf. Virg. Eel. 9. 53, 54 uox quoque Moerin
iamfugit ipsa. querent!. Cf. Lucr. quoted on v. 14.

Id. nee poterls qui sis aut ubi nome. Compare Catul-
lus 17. 22 ipse qui sit, utrum sit an non sit, id quoque nescit
(where see Ellis). It is an expression taken from everyday life,
something like ours, 'you will not know whether you are on
' your head or youtf heels.'

19 — 22. 'Then thou wilt he forced to learn that bondage
to my lady is hard, and how bitter is it to depart home from
dosed doors. Then thou wilt not wonder so often that my
cheeks are pale, nor why my whole body is worn to a shade.'

19. crane, for this use of the pred. without esse comp. el.
8, 32 and note, and Introduction. seruitium graue is a

favourite phrase of Sallust, e.g. Fr. Hist. 43, <ftc. For seruitium
in this connexion cf. in. 13 (11). 20 (me) posset seruitium
mite tenere tuum (to Cynthia).

*

?

)<

3

62 NOTES. I. v,

20. quid alt, olo'f lm. ef. m. 31 (25). 7, 8 m certe Xouii

eiclusum aomnm, an assonance to which Licbmunn objects.
But tie numerous classes of eiceptious which he is compelled
to admit (see Mb note) are a sufficient answer to him.

31. neo lain='no longer': cf. m. 6 (5). IS nee mihi ian
faalus opponere quaerit iniquet. totlens, ' as often as yon do
now'; but (aliens, lot, &c, in Prop, are used almost absolutely
= saepe, &c. See Introduction. mirabere, ' speak 'won.

daringly of or 'look with wonder at'; cf. i. 14.3 mireria cur-
rerc linirei and i. 9. 10 n. pallorem. For Proportiaa* pallor
and thinness (t. 22) see Introduction.

22. nnllns, 'a mere nothing.' Cf. v. 1. 34 et qui nunc
nulli, maxima turba Gait. For the thoroughly Propertian
changes of construction, discere grain leraitium et...qmd $il,
mirabere ■pallorem et car. . . see in. 23. 7 n.

23— 26._ 'And high birth will be powerless to help thee in
thy love : it is not in love to yield to the busts of ancestry.
Then if thon shewest though it be faint traces of thy failing,
how speedily will that great name of thine turn to a byword !'

S3, poterit. Cf. Introduction.

24 Desert. See i. 16. 20 n. imagiuibns. m. 6. 3 n.

26. parua, emph. =ue( parua. For this emphatic use of
words without emphasizing particles of. Introduction,
uestlgia parua, Lucr. 1. 102 ueritm animo eaCil hate ueetigia
parua lagaci; so Prop. 1. 18. 17 an quia parua damtta rtaUato
lirjna colore J eulpas, a^aprla; cf. v. 4. 70 Vesta. ..cvtpam

alit et plures condit in oiea facet. Propertins often uses
stronger terms such as uitium, nequitia.

26. de tanto nomine rumor erls. For .the use of de cf. -
Just. 3. 2, '2 Jiitid de uno populo duo corpora. For the name
(or reputation) and its owner thus united in a single expression
comparo n. 5. 1, 2 hoc ventmtt tola te ferri (i.e. thy name).
Cynthia, Roma et ntm ignota uiuere (i.e. thyaelf) ntquitia!
and note there, tor nomen— ' a person with a name' cf. Ov.
Tr. 2. 413 quit duldltt nomina tantaiequil perhaps a recal-
leotion of this passage. So in Eng. sometimes 'A still greater
reputation condescended to appear upon the human stage'
Disraeli. Compare Introduction. rumor erls, ' be the aub-

jeet of the town's talk'=Hor. Ep. 1. 13. 9 /acuta fiat. Cf. it.
35. In.

NOTES. I. r. 63

27 — 30. ( I shall not be able to bring thee comfort then
when thou prayest it, since for my own woe I have no cure.
But in equal misery we shall be forced by the love we share to
mingle our tears in one another's arms.'

29. socio, in a passive sense 'shared, held in common'; cf.
Ov. M, 5. 378 socio regno.

30. alter in alterius. Gf. Aen. 2. 667 alteram in altering
mactatos sanguine cernam. Comp. Greek dWijXot (&\\ovs d\Xoi)
and French Vun V autre; so in Eng. the 'one' has become indis-
solubly attached to the 'other 1 — ' one another.' nratua, ad-
verb, as in i. 16. 26 and n., and in Lucr. 2. 76 inter se mortales
mutua uiuont (where the sens9 is somewhat different ' pass life
on from one to another ') and elsewhere. Virgil has per mutua.
sinu, a proof of the greatest intimacy. Cf. Plin. Ep. 8. 16. 5
quibus ex causis necesse tanquam immaturam mortem eiua in
tinu tuo def learn, and Petr. Fr., an imitation of Prop., gran-
dine qui segetes et totum perdidit annum in simili dejUt tristia
fata iinu. The whole line is modelled on Meleager's, Anth.
Gr. 12. 72 dXXa fioi fypeo, Act/u 8u<rdfifJLop€' tcavrds "Epuroi
t\Kos i% (av ^ 7r * ff0 ?* daKpijffi 5&Kpv x^w.

31. 32. ' Wherefore cease to seek, Gallus, what my Cynthia
•can do : they rue in answer to whose prayers she comes.'

31. quid posslt, what misery she can work : cf. Cic. Div.
1. 10. 16.

32. impune ilia. For the elision of a vowel at the end of
the first half of a pentam. cf. Introduction. rogata uenlt.
Not, as Hertzb. and P., a fuller expression for rogatur, like
i. 10. 25 irritata uenit; for the dangers here dwelt on were
not in asking, but in having the request granted. But uenit is
used as in m. 6 (5). 20 sic hodie uenietsi qua negauit heri.

I. Yin.

Intboduction.

This is not properly two poems, but a poem in two parts.
A rival of Propertius, then praetor designate of the senatorian
province of Illyricum and Dalmatia, had tried to induce Cynthia
to accompany him there, and had nearly succeeded. Proper-
tins wrote the first part to dissuade her ; and, on her abandon-
ing the idea, expressed in the second part his feelings of

^

64 NOTES. I. tUL

triumph and confidents. The praetor afterwards came bud to
Rome, and Propertins had to regret a renewal of the inlinuc*

nn. 6).

A&OUMEHT.

Am I so worthless, is he so precions that yon will face mj
dangers and any hardships to go with him (1—8) t 01 that the
stormy weather might continue and prevent yon from putting
to sea and leaving me to my misery [9—13, (16), (16)]. Yet,
though you have wronged me so grievously, I would not wis!
you to he endangered when onoe yon have started on yoar
voyage. Let the winds blow fair though they bear yon *nj
from me ((13), (11), IT— SO]. Your perfidy shall not make mi
change. Though tar away, I will still think you mine (SI— 36).

My entreaties have prevailed. She stays with me (27— 32)
Pin riches could not induce her to leave me (33 — 38). Sit
could not resist the pleading charm of my verse (39 — 12). Shi
is mine and mine for ever (43— 46).

1 — I. 'Art thou mad then? Does no thought for me
make thee stay 7 Or dost thou hold me cheaper than Hlyfii'i
cold clime f And dost thou already rate thy knight, whoe'er
he is, so highly that thou wouldst voyage without me in anj
wind that blows V

1. lgitur. The conclusion to a train of thought which is
not expressed in the context. Here of a distasteful reality
which most be recognized. So ergo Hor. Od. 1. 24. 5 <rjo
Quinetiliwn perpetuui topor urget. Semens, addressed to
Cynthia, as in m. 11. 7 (9. 23). mea can, as amor mea
Hor. Epod. 5. 81.

2. niyrla, in prose Illyricum. ullior, cf. el. 2. 25 n.

3. tantl, a favourite expression of Propertins, a. g. m. S
(7). 55 ne titii sit tanti Sidonia uettit ut timeai, Ac. qui-
cumque eat lste, accumulated contempt. Propertins knows
nothing of this extenau utr {m. 12 (10). 16), and will ii«
nothing himself to say to him (ute), cf. n. 9, 1 iite quod (rt
egoiaepcfui.

4. sloe me. Contrast v. 82. uento quoliost, with •
reckless disregard of the season; Suet. Jul. 66 tMtuilim**
fin up impr/siios qaocumqtie tieitto in qvaacumque terras iuM)
nvehi. The abl. is of 'attendant circumstances,' as in Ed.
Epod. 9. 30 Mentis iturot mm tuit, Koby 1242.

NOTES. I. viii. 65

&— & 'Canst thou hear the roar of the frantio sea and
quail not? Canst thou lie on the hard ship's deck? Canst
thou press the frost upon the ground with those soft feet ; thou
bear, my Cynthia, the unaccustomed snow ? '

5. uesanL The §ea is called ' mad ' from the violence and
apparent causelessness of its commotions ; hence in Flaut. Trin.
4. 1. 7 of Neptune. So with other ill-understood natural
powers, e.g. the wind; Catull. 25. 13 uesanienU uento. mur-
mura ponti, a regular collocation. So Luor. 8. 1045, Or. Tr.
1. 11. 7. fortls may go with the first or second inf. or more
probably with both.

6. dura. Cf. Aen. 5. 836 placida laxarant membra quiete
sub remisfim per dura cubilia nautae.

7. positas, 'fallen*: cf. Hor. Od. 3. 10. 7 positas ut
glaciet nines puro numine Tuppiter^ Ov. F. 2. 72 postta tub niue
ttrra latet. fulcire, * press/ See Appendix B and Introduction,
prulnas, the ice and snow on the ground; nines, v. 8, the
falling snow.

8. insolitas. For Propertius' dislike of the unfamiliar
eee el. 5. 5, and Introduction.

9—14 (16). '0! that the stormy winter season might be
doubled in length, and the lagging Pleiads keep the sailor idle,
that thy cable might not be loosed from the Tuscan strand, and
no hostile breeze make light of my prayers, nor steel itself to
leave me on a deserted shore to clench my hands in rage and
call thee cruel again and again.'

9. hibemae, the adj. of hiemps storm; cf. Aen. 5. 12C
hiberni Cori. tempera, 'the duration* of the winter.

10. iners. Cf. it. 6 (7). 72 n. Vergiliis, the Latin
name for the Pleiades whicn rose on April 2nd. Or. P. 4. 169.

tardis, a secondary predicate, ' through the Pleiads rising
lite'; see Introduction.

11. Tyrrhena barena. The double or leonine rhyme, m
common in late Latin poetry, is also sometimes found earlier,
but almost exclusively in such a position that the metrical
ictus falls on different syllables in the two rhyming words, as
in Lucr. 3. 337 motihu accentus nobis per viscera s4nsus f not
on the same as in Ov. Her. 2. 126 protinut ilia mefo auguror
use detis or Prop. n. $. 16 in nostrum iaeies uirba supirba caput.

fonia. ' retinaculum.' The ship, as usual, was secured by
stern cables to the shore and by anchors from the bows, ready
to start as soon as the weather was fair,

P. P. 5

66 NOTES. I. viii

19. eleust, i
between the mea
diipafage.'

13—16. With Soaliger, Milller and others, I hare changed
the places of those two diaticha. The change is requited t
give tales a meaning, and is supported by the orderly construe
tion of the poem which falls into the following division* t, i
6, 6, 6, each division containing a complete thought and ending
with a psuae.

13. pataotur, 'bear,' Or. irt^tittax, rXTJrat; with infln. ;■
in Cic. Off. 1. 9. 26 ut eat quae tutari debeant detertoi tin
patianlur, and Prop, l 16. 89 n. The subject of the inf. i-
generally that of the verb of suffering as in vix tolero dice.
not different aa here; comp. el 22. 7. P., 'allow my voice si
be heard,' is quite wrong. defiXUm, in a stupor of grief;
hardly consistent with the violent gestures of the next lie.
But here, as elsewhere, Propertius has compressed two eta£»
into one; see Introduction. nacua. Contrast with ibis
picture of desolation the undisturbed rest of HE. 20 (17). "•
putrit it in uacua requieacit nav.it karena.

14. Infests, roanu naturally means ' with threatening ges-
tures ' : but a comparison with its use in Or. e.g. Am. 3. 9. I 1 - 1
and with the scene in Ov. Her. 10. 87 quod unci deerat, pUmgo"
replebam, uttbtra cum uerbii mixta fuere mei* makes it doabl-
ful whether Prop, may not have intended infeeta mihi ipii-
' beating my breast and tearing my hair.' Compare el. 6. 15, 15.

15 — 20. ' And yet I would not then see such breezes sini
when the barks with thee put out and the wind bears thei-
away ; nay, however thou deservest at m y hands, forsworn ohp.
may Galatea be not unfriendly to thy voyage that thou may's
sail past the Cerannian rocks with prosperous oar, and tire
waters of Oricoa be calm to receive thee.'

15. atque, ' and yet,' so frequently. tales, like the pi.
Toto&roi, to avoid a repetition of the adj. ; here inimical »!**■
Compare also in. 21 (18). 20 n. The expression is eoriousi; ,
roundabout 'X do not wish winds unfriendly to me, i.e. favoni-
uLle io you, to sink when yon have once set out.'

16. pronectM, * fairly under weigh,' the usual word in Uw
connexion-; cf. Aen. 3. 72 prouekimur porta. anfsnrt-
Softened down by Ov. It. A. 264 abitulit aura rata. abdufcni
would have been more accurate. rates, probably not tie
in'leflnite plural, but the crowd of ships which would grsdosD;
t--jllect during the bad weather.

NOTES. , I. viii. 67

17. quocumque modo, -echoed in v. 34. mereris. Prop.
often appeals to his or other people's deserts.

18. Galatea, a sea-nymph; mentioned here as specially
connected with Sicily, as the Acis and Polyphemus stories
shew. non aliena, imitated Ov. Am. 2. 11. 34 aequo,
tamen puppi sit Galatea tuae.

19. praeuecta. This is a very strange use of the voc, and
praeuectamfelice, the conj. of Mr Munro, as earlier of Heinsius
and Guyetus, is easy. But the alteration gives a weak order
of words, and it is not certain that Prop, could not have written
the voc. See Introduction. [Since the above was written
I find that Baehrens reads utere with his mss. I think this is
very probably what Propertius wrote. For (1) the imper. can
be used in wishes, as in haue, uale, and in vtebe felix, an
inscription found on drinking- vessels. So in Greek, Xnth. Gr.
7. 350 NaurtXe, pd) ircvdov rtvos ivdade rv/jfios 6& dfd, a\X' avrbs
vovtov Tvyxavf xPV ffT0T ^P 0V ' Either of the last illustrations is
so much in point that it may have suggested the use here.
(2) The omission of te with accipiat which will then have to be
assumed is thoroughly Propertian ; cf. Introduction.] Cerau-
nia, Kepatitna optj ; a mountain range on the coast of Epirus,
very dangerous for seamen : here its extremities, the Acrocerau-
nia, which formed a promontory in front of Oricum, are es-
pecially meant.

20. Oricos (also Oricum), now Ericho, a town of Hlyria on
the borders of Epirus at the mouth of the Aous, famous for
box and turpentine wood, OHcia terebintho, rv. 6 (7). 49. It
was the place where Caesar laid up his fleet in the Pharsalian
war.

21 — 26. * For no marriage torch shall have power to tempt
my soul or to keep me from pouring at thy threshold, my hie,
my loud complaint. Nor shall I fail to question oft the bustling
sailors: 'Say ye, what harbour encloses the maiden of my
choice ? ' I will say too : ' Though she settle on the Atracian or
on the Elean shores, she shall still be mine. 1

21. nam, the argument is: 'to pass on to me, I shall
always be true to you.' corrumpere, ' seduce me from you,
make me false to you.' Gf. in. 12 (10). 9 illic te nulli pote-
runt corrumpere ludi. taedae, the accompaniments of
a marriage procession, and so 'marriage,' as in Ov. M. 15. 826
Romanique ducts coniunx Aegyptia, taedae non benejisa, cadet.
There was some danger about this time of Propertius being

5—2

68 NOTES. I. viii.

forced to marry and resign Cynthia. See the introduction to

ii. 7.

22. quin. The student should observe that in clas-
sical Latin quin (like fir) ov in Greek) is only used in
negative or quasi-negative sentences. Thus poterunt me cor-
rumpere ne querar, but non poterunt me corrumpere quin
querar : cf . Boby 1636. ulta. See el. 2. 1 n. uerba
querar. This, the us. reading, is altered by most edd. into uera
querar, an easy but quite unnecessary change, and one too which
destroys the balance of the context The reading is strongly
supported by Ov. Met. 9. 804 moturaque dura* nerba que tot
tUices, 'where the phrase is softened down by the addition of
an epithet. For the cognate ace. see Boby 1100: the noun
thus put in the aco. is generally of the same origin as the verb
(as currere cursum) or at least commonly used as its verbal
subst. (as* ire uiam), but ci Hor. Od. 2. 17. 26 laetum, theatris
ter crepuit sonum, The next point is the use of uerba, which
has misled the commentators.- uerba is frequently used by
Prop, where we should use a more definite word ; e.g. x. 18. 21
a, quotient resonant teneras men uerba tub umbras (prayers and
lamentations), so in n. 8. 16, Ac.; v. 1. 184 ineano uerba
tonare foro (a public harangue) : in. 81 (25). 10 pecoris duro
perdere uerba sono (human accents). So here uerba queri is
' give articulate utterance to my woe* opposed to tacite queri
(P.). Compare for the apparent tautology i. 4. 18 et tibi non
tacitis uocibus hostis erit and the phr. uooe uocare; and con-
trast i. 5. 17. limine. Compare in. 6 (5). 82 uestibulum
iaceam mortuut ante tuum, and the whole of el. 16 "which is
such a serenade or wapaKkavelBvpov.

23. nee me deficiet rogltare. The inf. is the nom. and =
rogitatio, 'nor will asking fail me.' Cf. Hor. Ep. i. 11. 30
animus ti te non deficit aequut. This use of an inf. in nom.
and governing an aco. (nautas) is hard to parallel. Cf. how-
ever eL 9. 84. Possibly it is a Graecism, as Mr Beid suggests.
He reminds me of Soph. O. T. 1282 ov Xe/rei rb ftrj oi> /Sapfaror'
etveu. rogltare, a frequentative form, very common in Plant.
and Ter. , otherwise very rare. Virgil has it twice. crtatos,
adj., * moving quickly ' ; it is also taken as the part., * I will
call and question.' So Ovid asks the sailors for news, Ov. Tr.
3. 12. 33.

24. clausa, in sheltered water ; cf. 1. 11. 11 clausatn tenui
Teuthrantis in unda.

25. et dicam. Where another writer would say a thing w.
Prop, frequently puts it as something taid in the past, present

NOTES. I. riii. 69

or future, by himself or others. Of. x. 11. 26 quicquid ero,
dicam Cynthia causa fuit: i. 9. 8n. Comp. Ov. Am. 2. 11. 43,
44 primus ego adspiciam notam de litore pinum, et dicam
4 nostras aduehit ilia deos '. licet, licet. For this Propertian
repetition compare in. 19. 19(16. 87) quamuis nee sanguine
auito nobilis et quamuis non ita dines eras, and Introduction.
Atradis is the reading of the best mss. : and may be defended.
For Atrax was a town in Thessaly about 32 miles from the
coast : and it may be said that the poet means * whether you
are on the east or west side of Greece.' Or, again, the river
Atrax in Aetolia, falling into the Ionian Sea (Plin. 4. 2. 3. 6),
may be meant. Autarids, Puoci's conjecture, has some

rather doubtful MS. support, but it suits the general sense
very well (compare introd. supra) ; and the cutting down of
the proper name Autariatae (AfrapieTt App. Illyr. 2) is quite
in Properties' manner ; cf. note on el. 1. 13. The evidence is
provokingly ambiguous. oonsidat, in its proper use 'to

take up a permanent abode,' 'settle/ as in Cic. Att. 5. 14
antequam aliquo loco considero neque longas neque semper mea
mam litteras expectabis. Even a lasting separation will not
extinguish Propertius' claim on Cynthia.

26. Hyllels (mss. hileis), a certain correction. The"T\X««
or'TXX^ti were an Hlyrian tribe in the peninsula of Hyllis.
fntura meast, stronger than eriU Prop, is Tery fond of this
fat. part. Cf. Introduction.

27 — 80. 'Here she will stay. Here she abides: she has
sworn it. Let the spiteful burst. I have conquered. She
could not bear the persistence of iny prayers. Let greedy envy
lay down its visionary joys. My Cynthia has ceased to travel
upon an unknown course. 1

27. erit. esse is frequently used esp. in Oicero in the
sense of * remain'; Cic. Sep. 1. 9. 14 cum Africanus constitu-
isset in hortis esse. lurata manet, not for iurauit se man-
mram. It is a strong way of expressing confidence. She will
stay because she has promised it. rumpantur, faappaycicv ;
in full rumpantur inuidia as in Virg. EcL 7. 26 and elsewhere.
Here the inuidia is suppressed, as in the palpable imitation of
this passage in Ov. R. A. 387 sqq. si mea materiae respondet
Musa iocosae, uicimus, et falsi criminis acta reast. rumpere %
liuor edax y <fec. The fable of the frog and the bull is a good
comment on the phrase. lniqui as a subst. is Ciceronian;
nonnuUi nostri iniqui Plane. 23. 57 and elsewhere.

28. ulcimus. Compare Ovid quoted above. tulit,

70 NOTES.. I. viii.

'.withstood'; see note on el. 16. 29. So in the imitation by
Ov. Tr. 3. 5. 38 Dardanii lacrimasnon tulitille sent*.

29. falsa gaudia, 'unreal,' comp. pseudo-Tibnll. 3.6. 33
imitari gaudia falsa to counterfeit joy; Ter. Andr. 1. 2. 9
duci falso g audio, Cf. Oonsol. ad Liv. 37 gaudia uam
foues: spem pone, muerrima, falsam. cupidus=ciij>tdtu
laedendi Quint. 5. 7. 16. Prop, frequently omits to define the
sphere of a word closely where it can be gathered from the
context ; see Introduction. liuor. As we say ' envy,' substi-
tuting for the class a concrete personification of the class-
quality, liuor is the ' black ' or ' blackening ' disposition ; cf.
Hor. Sat. 1. 4. 85 (of a calumniator) hie niger est; hunc tu,
Romane, caueto.

30. The vagueness of the expression Jiere is to be observed,
destitit ire probably means ' has given up going,' ( relinquished
the idea of going.' Compare the strange expression m. 13 (11).
36 amator desisto. Then uias includes the journey to the
coast as well as the sea voyage, and probably also the meta-
phorical ' course ' on. which Cynthia had embarked by casting
in her lot with a new lover. nouas, in a bad sense, which
is still more strongly marked in v. 4. 68 nescia uae furiu
accubuisse nouis. For Proper tins' dislike of the wTiffrwiiliiir
which is partly that of Roman conservatism see el. 5. 5 n.

31 — 36. ' She calls me dear to her, and Borne for my sake
most dear. Without me sHe says that no royalty is sweet.
Yea, she chose to rest with me in a narrow bed, to be mine,
whatsoever the terms, rather than the ancient realm of rich-
dowered Hippodamia to have for her own, rather than the
riches that Elis gained in old time by its steeds.'

31. Ull goes with earns, not with dicltur. Observe the
exquisite skill with which the couplet is constructed. The
poet begins by trying to express the facts as Bimply and
soberly as possible (Mi earus ego), but his joy seems to oyer
master him and break into a climax, yet with an indirectness
(Roma) which is doubly effective. First the contrast be-
tween ego and Roma heightens the impression of uncontroll-
able feeling. He has guarded the main channel of passion, bat
it has found an outlet in spite of him. Then again it is sug-
gested that even what is remotely connected with Pronertius is
dear to Cynthia, not himself only, but the city which holds
him. Lastly the whole is softened by the vague passive dkitur.
Propertius has certainly a title to his name of blandu*.

NQTJES.. I. viii. 71

82. sine me, contrast v. 4. There Cynthia will face the
most adverse conditions to abandon Propertius; here she will
not do it for the. most tempting proposals. Compare pseudo-
Tibnil. 3. 8. 23 sit mihi paupertas tecum iucunda, Neaera, at
sine te regum munera nulla nolo. dulda negat. For the

adjective used as a pred. without case see in. 22. 41 (18. 51)
crudelem Borean rapta Orithyia negauit: I. 6. 9 ilia me am
mihi 8e iam dene gat: so r?. 14 (15). 29 et durum Zethum
et lacrimis Amphiona mollem expertast : i. 5. 19 graue ser~
uitium disc ere: i. 7. 19 turn menon humilem mirabere saepe
poetam,

33. angosto lecto, Le. ' a humble bed' ; so in n. 1. 45.

34. quocumque xnodo, Contrast again v. 4, and for the
expression quouis modo v. 4 of the next elegy and n.

35. sibi, 'for herself'; compare el. 5. 3. dari is not to
be supplied, as P. says. uetns, very nearly= dpx<"6*
rXovrov; cf. Hor. Od. 1. 15. 8 et regnum Priami uetus.
Hlppodamlae. See note on el. 2. 19. * A greater king than
Pelops' was a proverb : UtXoxos (kurike&repos Tyrt. 17. 12 (8)
(Bergk).

36. Ells, perhaps where Cynthia's lover had proposed to
take her. ante pararat. To a modern reader this seems
more naturally to mean 'amassed before Hippodamia's time,'
and it may do so. But it is more probable that ante =* in
past times' in. 24 (20). 7 hoc perdidit ante pueUas, so rv. 2 (3).
6, <fcc, and that pararat is the Propertian use of the pluperf.
where the perf. is more usual. See Introduction. •quia.
The greatness of Elis was founded on the Olympian con-
tests ; and of these the most important was the chariot race.

37 — 40. ' Though he offered much, though he would have
offered more, yet greed did not drive her from my arms. Not
by gold, not by Indian shells could I move her, but by the
gracious homage of my song.'

37. quamuls...quamuls. v. el. 16. 30 n. daret, daturas.
The sense wavers between * give ' and 'offer' in a way which it
is not easy to reproduce. Prop, probably means • he offered to
give much, and he would have given more.' daturas. For
the omission of esset see Introduction.

38. fugit sinus. The opposite expression in pseudo-Tibull.
4. 3. 24 in no8 tr 08 ipse recurre sinus* It is worth observ-

72 NOTES. I. viii.

ing that sinus is never used for the ' breast ' as the seat of the
affections, a Bense in which even good scholars often employ it
in their verses. auara, closely with faglt. Cf. eL 16. 20 n.

39. hanc, the ilia of the previous verse. On Prop.'s use of
pronouns see Introduction. conchis, pearl-shells. CI
ps.-Tib. 3. 3. 13 in Erythraeo legitur quae litore concha,

40. bland! 'winning'; Ovid's epithet for Propertius. See
Introduction. carminis obseftuio, i.e. by being humoured
in my song.

41 — 46. 'Then the Muses are no dream and Apollo is not
dull to the lover. On them I lean and love; the peerless Cyn-
thia is mine. Now on the highest stars I may set my feet
Come day, come night, she is mine* No rival steals from me
that trusty love. This glory shall not vanish till my hairs are
white,'

41* sunt 'really exist' ; they are real powers, of. Tib. 1. 5.
57 sunt numina amanti. So in Ov. Am. 3* 3. 1 esse deos i
crede; fidem iurata fefellit. Stat. SiL 1. 4. 1 (in a similar
jubilant outburst) estis, io, superi. tardus 'slow to answer

and aid, indifferent'; cf. el. 1. 37 supr. tar das aures, and, with
more of the physical sense, el. 10. 16 dominae tardas fores
'Slow-opening.'

42. rara 'seldom found, hard to match'; el. 17. 16 quamuis
dura tamen, rara pueUa fuit 9 Ov. M. 14. 337 rara quidem
faeiet sed rarior arts canendi, basissiica. conivnx &o. are fre-
quent in epitaphs.

43. sununa. 'The loftiest star of unamended heaven/
Shelley. licet. In the range of feeling Properdins prefers
the possible to the actual. contingere stdera plant!*. P.'s
illustrations of this phrase are not strictly in point. In Hor.
Od. 1. 1. fin. sublimi feriam sidera uertice the human dilates
and riBes to divine stature. In Theocr. 5. 144 is ovpavbp vnpv
aXeu/ucti 'I will leap sky high 1 springing exultation seems to itself
able to perform the highest tasks. Here the sense is *I Bhall
walk a god among the gods' ; cf . in* 6 (5). 10 immortalis ero si
altera talis eriU Thus in Catull. 66. 69 the look, now a star,
says me nocte premunt uestigia diuom. contdngere unites
the ideas of 'touching' and 'reaching,' Aen. 4. 259 ut primw
alatis tetigit magalia plantis,

45. certos 'proved,' and so 'to be depended on, true;' cf. m.
27 (21). 19 certos nunc spondet amoves, so of persons in. 19 (16).
20 tu mini certus eras. suMudt. The balance of m an-

NOTES. I. viii. 73

thority is in favour of the pres. and it is the more poetical
reading. The present and the past are to be one in Propertius'
love, a continuous bliss. Comp. pseudo-Tib. 4. 13. 1 nulla
tuum nobis aubducet femina Uctum (an apparent imitation of
Propertius).

46. ista, see note on t. 39. norit would in Gr* have
probably been £w<f<rrai, 'will befriend or accompany my old
age.' It is also possible to explain it as a hypallage for l mea
canities nouit gloriam istam,' the acquaintance being supposed
mutual. For the preference of an indefinite expression cf.
el. 9. 14 note.

I. ix-

Introduction.

Addressed to Ponticus for whom see Introduction. From
i. 7 we gather that Ponticus had rallied the poet on his love-
sick strains and had advised him instead to take tragic or epic
subjects. Propertius defends himself there and warns Ponticus
that love may be in store to him ; see verses 15 — 20 and 25,
26 tu cane nostra ttto contemnas carmina fastu : saepe uenit
nagno faenors tardus amor.

AftfltTXTEKT.

My prediction is verified. Love has come to you, mocker,
and come with a vengeance (1 — i). In matters of love I am a
sure prophet; but it id a gift wnioh has cost me dear (5—8).
Away with your epic poem and attempt some more attractive
style (9—141 What if your love were unrequited? (15, 16).
This is only a foretaste of what is coming. Love always
makes his victims feel his power (17—24). Your very success
is dangerous. There is nothing so insidious as a lover's en-
dearments (25—32). Give me the confidence then to which I
am entitled. Confession will ease your pain (33, 34).

1-— 4. 'I told thee, mocker, that love would come to thee,
that not for everlasting would a freeman's speech be thine.
See, thou art prostrate and comest a suppliant to a girl's com-
mand, and a bought maid rules thee as she will.'

1. dicebam, i.e. * with something of prophetic strain '; Or.
ofc ify6pevop; Ov. Am. 1. 14. 1 dicebam * medicare tuos desiste
copillos.' So dixit Tib. 1. 6. 55 = 'predicted.' Comp. v. 6.

74 KOTMS. I. ix.

lrrisor cyyAcwra; apparently only here and in Cic. Farad.
1. 3. 13 (with a gen.).

2. libera uerba Unshackled freedom of speech.' It is the
freedom Prop, prays for in el. 1. 28 q. v., and which is lost in
the seruitium of love (el. 5. 19); compare Eur. Phoen. 392
&ov\ov t6V ttwas pi) \4yeiv a rtj (pporet

8. ecce, the l8ov or ifrWoe of Meleager ; see Introduction.
Compare Ovid Am. 3. 9. 39 iacet, ecce, TibuUus. laces,

like a captive on the ground; so v. 11. 38. Compare also its
application in i. 6. 25 me sine quern uoluit semper fortuna
i ace re, hanc animam extremae redder e nequitiae. ad inn

4 to receive the commands of :' ct Ov. Am. 1. 2. 20 porrigitm
uietas ad tua iura manus. puellae, probably *a girl:'

possibly 'a servant,' anciUae.

4. quouis modo, 'in any way she please'; cf. note on el.
8. 84. empta. An attachment of this kind was considered
discreditable to a freeborn Boman. Compare Hor. Od. 2. i
which is an exhortation to Xanthias Phooeus not to be ashamed
of his affection for his slave; and so in Hor. Od. 1. 27. 14 qwu
te cumque domat Venus, rum erubescendis adurit ignibus in-
genuoque semper amort peccas.

5 — 8. *In the field of love Chaonian doves could not sur-
pass me in saying what youths each maid shall tame. Woe
and tears have given me a just title to this skill : and oh ! that
I could lay my love aside and men call me tiro.'

5. Qhaonlae, the prophetic doves of Dodona. Chaonia i*
the name of the province of Epirus nearest the sea, and hence
that of Epirus generally. Its use in this phrase is the more
harsh, as Dodona is in the interior. The appeal to the doves of
Dodona is the more appropriate from Dione, the mother of Aph-
rodite, being worshipped there. See Carapanos Dodone et ses
Buines pp. 134, 135, 145. In amore, one of the commonest
phrases in Propertius. It occurs no less than 19 times alone
and 15 with an epithet as i. 6. 27. ulncant dicere, a very
bold construction, uincant is substituted for the equivalent
phrase meUores tint. The inf. is for the gerund with a pre-
position, meUores ad dicendum, in imitation of the Greek use;
Boby 1361, 1363. So rum failor in Lucan 7. 287 caelum cum
lamcea transit, dicere non failor quo sit uibrata lacerto. Cf.
Introduction.

6. domat, 'shall tame'; the regular use, though P. seems
to imply the opposite: see Boby 1507 where the role is dearly
stated.

NOTES. I. ix. 75

7. merlto, cUbrtot, a favotirite word of Prop. ; in 1. 17. 1 et
merito, quoniampotui fogisse puellam, nunc ego desertas alio-
quor alcyona*. Cf. in. 3. 9. iure is similarly used of other
dearly purchased advantages Tib. 1. 1. 49 sit diues iure furo-
rem qui maris et tristes ferre potest pluuias, peritum, used
absolutely, as in Cic. Off. 1. 41. 147 nee uero alienum est ad ea
eligenda quae dubitationem adferunt adhibere doctos homines
uel etiam usu peritos &c. So rudis is used absolutely in the
same connexion by Prop. rv. 16 (17). 7 te quoque enim mm
esse rudem testdtur &c.

8. atque utlnam. Of. note on m. 5. 27. poslto amo re
im. Ov. Am. 2. 9. 25 uiue deus posito si^quis mihi dicat
amore, deprecer. dicar, a Propertian expression; cf. n. 8. 6
nee mea dicetur quae modo dicta meast and notes on el. 8. 25,
SI. rudls, for the antithesis cf. in. 32 (26). 82 siue in amore
rudis siue peritus erit.

9 — 14. 'What avail is it now in thy woe to frame heroic
verse, or to mourn over the ramparts of Amphion's lyre ? In
love one line of Mimnermus is more potent than Homer:
peaceful love asks gentle strains. Go, I prithee, and put thy
gloomy books away; and sing what any maiden would be glad
to learn.'

9. dicere carmen, Hor. Od. 1. 32. 3 and elsewhere. It
must not be forgotten that ancient poetry -was primarily in-
tended for recitation, graue, i.e. not amatory; cf. Hor. Od.
4. 9. 8 Stesichorique graues Camenae.

10. moenia, the walls of Thebes. Comp. Anth. Lat. 3.
182 Amphion cithara Thebarum moenia saepsit. Amphio-
nlae lyrae, raised by Amphion's lyre, by Amphion with his
lyre. For the gen. which is a rather unusual example of gen.
of the thing causing (Eoby 1280) cf. Introduction. For the
phr. cf. in. 21 (18). 18 Arioniam lyram and note. Here, 'tell
in. mournful numbers': a condensed use of the verb not un-
common in Latin. Hor. Epod. 14. 11 testudine fleuit amorem,
Mart. 8. 56. 20 qui modo uix eulieem fleuerat ore rudi, and
with the inf. Prop. rv. 8 (9). 37 n. Our idiom requires a subtler
analysis. Thus we say * look with wonder on,' ' express wonder
at;' but the Roman said mirari, Prop. i. 14. 3, i. 7. 21. So
confideret Caes. B. C. 8. 72 * express reliance in,' contemnere Cic.
Sest. 8. 18 'express scorn for,' Pliny N. H. Praef. quanto {ore)
fratris (uirtutes) amas, 'how affectionately you dwell upon the
excellences of your brother.*

76 NOTES. I. ix.

11. uersus, *<ms verse'; cf. m. 1. 13. Compare the epi-
gram on Erinna in the Anthology 9. 190 ol W r/mpcoVtot avrijs
crrlxot t<roi 'Om^Spv. There is a reference to el. 7. 3 pritrw
eontendis Homsro ' your rivalling Homer will do you no good.'
Homero, Homer's poems, as Isaeo Juv. 3. 74 is 'Isaeus' style.'
Another instance of the tendency of Latin noted on v. 10.

12. mansuetus, literally 'domesticated, civilized/ rt0a<r6s,
Xeiporjdrjs, and so shrinking from tales of bloodshed. Compare
iv. 4 (5). 1 pads amor deus est; pacem ueneramur amantes.

13. tristes 'gloomy/ not 'dull' P.: from their subject, for
which see introd. supr. and i. 7. 1, 2 dum tibi Cadmeae dicun-
tur, Pontics, Thebae armaque fraternae tristia militiae.
compone *lay aside,' from collecting things and putting them
carefully away. So in Hor. Od. 4. 14. 52 te caede gaudenUs
Sigambri compositis uenerantur armis, Gic. Fam. 16.20 libros
compone: indicem cum Metrodoro UbebiU Compare condo.

14. quaeuls puella, the generality of maids. noise, for
a more precise word such as legere. Compare note on el. 8.
46 and Introduction.

15 — 18. ' What if thou hadst not ready access ? Now thou
art mad and seeking water in mid stream. Thou art not pale
as yet or touched with a real fire: this is but the first spark of
the evil to come.'

15. Copla. 'What if you were debarred from your love* '
Compare m. 81 (25). 44 eleuat adsiduos copia long a uiros,
' a long-oontinued preference.' Not, as P., scribendi materie*.

16. A proverbial expression ; of Tantalus Ov. Am. 2. 2. 43
quaerit aquas in aquti, Gr. &> laXrfovjr £>pw vdtap. lnsannt
* madly.' You do not know how well you are off.

17. uero 'real'; so ueri calorU t, 8. 3.

18. fciullla * spark/ the first bright spot in a kindling
fire, fauitta is from the root boaw, an expanded form of bha. to
shine, seen in 0d\f )-©t , fau-us honeycomb, from its bright look,
fau-eo (see Curt. Gr. Etym. no. 407), and means properly some-
thing 'shining, glowing' and thus (1) a spark, (2) glowing
embers. Compare Aen. 3. 573 turbine fumanUm piceo et can-
dente fauilla. For the sense compare Callim. Fr. 161 to *vp ft,
raW*«w«*, od voXXy $\ayl vpfotr jrcxupipce, and osp. an epigram
of Philodemus Anth. Gr. 5. 124 wvp rti+enu 4yKp6+tor...pdrra
cyu /utrydXip adrUa wvpaLtsu Fox Propertius' archaisms and
etymological bias see Introduction.

&OTES, I. ix. 77

19 — 24. 'Then wilt thou sooner desire to approach the
tiger of Armenia and sooner prove the bonds of the wheel of
hell than feel the young god's bow again and again in thy vitals
and be powerless to deny aught to an angry love. No love ever
left a captive his wings so free as not ever and anon to make
him feel the checking hand.'

19. cupies, a Propertian use, see Introduction. Here
magis cupies is a stronger expression for males (magis uoles).
accedere 'draw nigh.* Compare Aen. 1. 201 uos et Scyllaeam
rabiem penitusque sonantes accestis scopulos. Compare i. 1.
12 n. Armenlas tigres. This epithet for tigers appears in
Virg. Eel. 5. 29, Ps.-Tib. 3. 6. 16.

20. lnfernae rotae ulncula, i.e. be bound to Ixion's wheel.
noeae=' possum esse, sensisse 9 ; for vaOqtiara are fiadij-

iulto, Hdt. 1. 207. Compare also i. 6. 4.

21. puerl, i.e. Cupid, called istepuer i. 6. 23. It is in Pro-
pertius' manner to replace a proper by a common name: so
Cupid is ales, the Muses, Pates, Danaides are sorores, Intro-
duction, totiens, frequently used by Prop, almost in the
sense of saepe; so inm. 10 (9). 18 canae totiens oscula ferre
comae: so tot=multaiv. 7 (8). 2, <fec. Compare Introduction.

arcum sentlre * feel the work of the bow ' ; whether it is
old wounds that, are rankling or fresh inflicted ones. A similar
brevity makes v. 29 obscure ; see note there. medullls. This
abl. seems to fall under Boby 1174, the abl. of place where the
place is also the means (1214 — 1226), cf. Cic. si memoria tenes:
or in philosophical language the medulla is not only sentient,
bat also the sensorium. The imitation Ov. Am. 1. 11. 11 is a
good example of how Ovid softens down what seems to him
harsh in Prop, credibile est et te sensisse Cupidinis arcus.

22. tuae, as a noun (like mea rv. 7 (8). 22) Hot. Od.
1. 15. 32 non hoc poUicitus tuae. The concurrence of adjec-
tives in apposition is never avoided by Prop. See Intro-
duction.

23. fadlas 'easy to work;' so facilis arcus Val. Fl.
1. 109. There is a peculiarity in its use here, as the difficulty
is caused by external impediment, not something in the tiling
itself. It is not easy to settle what the metaphor is. Two
interpretations claim to be considered. (1) explains it by a
reference to the sport, still prevailing, I believe, in Naples, of
tying a bird to a string, letting it fly and pulling it back again.
Compare Aristoph. Nub. 763, quoted by Becker Chariol. p. 224
(trans.), \ir6derov wrirep firjKoKSvOrjy (a cockchafer) rod votet. So

78 NOTES. I. ix.

Shaksp. Rom. and Jul. 2. 2. 177 "Tis almost morning: I
would have thee gone-, And yet no further than a wanton's bird ;
Who lets it hop a little from her hand, Like a poor prisoner in
his twisted gyves, And with a silk thread pulls it back again, So
loving jealous of his liberty.' (2) supposes the metaphor
to be from chariot driving and an adaptation from the famous
myth in the Phaedrus, p. 245 seqq. Love is the driver of a
chariot drawn by the winged soul (irrrivbp ap/xa Plato). The
metaph. is not unfrequent in love poetry; Meleag. Anth. 12.
119 0ebt OvaroM opioxci KpaZlav, Anacr. Fr. 4 tt}s i/trjs fvxfc
7)vlox€V€ls. I prefer (2),

24. alterna ' pulling and loosing alternately.' See note
onTm.8* 7.V xl < manu 'movement of the hand'; cf. infesta
vianu i. 8. 16.

25 — 32. * And let it not mislead thee that thou canst quite
command her love. If a maid be all thine own, Ponticus, she
steals more deeply into thy souL Yes, for then thou canst not
withdraw thine eyes from the spell nor will Love allow thee to
watch in any cause but his, that Love who does not reveal
himself till his hand has reached the bones. Whoever thou
art, oh, flee incessant blandishments 1 They can make the
flint and the oak yield to them ; still less canst thou resist
with thy frail spirit.'

*• 25. nee te decipiat quod. The constr. is nee quod sit
satis ilia par ata (the idea that, &c.) decipiat te.

26. acrius subit, a union of two allied ideas 'piercing'
(acrius) and 'entering into ' {subit, with which altius would have
been more suitable), acrius 'with keener passion'; cf. n. 4. 2
(3. 46) si quis acrius ut moriar, uenerit alter amor and Tib.
2. 6. 15 acer amor, subit of stealthy entry as in Ov. Am. 1. 2.6
an subit et tacita callidus arte nocet f tuast, emphatic.

27. The punctuation here is doubtful. Either (A) the one in
the text may be adopted or (B) a full stop may be put after tuast,
a comma after nomine and a note of interrogation after om.
The sense then will be ' Would love forsooth cease to be there
(cedat, give place) where there can be no withdrawing of the
eyes from the fascination, or watching in any cause but his?'
For quippe, ubi and a question following, comp. Lucr. 1. 167,
168 quippe, ubi non essent genitalia corpora cuique, qui posset
mater rebus consistere certaf ("Quippe is here joined with
168 Qui, ubi — cuique being a separate clause, but 182 Quippe
ubi are of course connected: he (Lucr.) never cares to avoid
such ambiguities of construction." Munro.) The last remark

NOTES. I. ix. 79

is true of Prop, and apposite to the present passage. In the
other place in which Prop, uses the phr., n. 4. 19 (9) quippe
ubi nee eausas nee apertos eemimus ictus, the quippe and ubi
are closely connected. (B) makes line 29 more pointed, hut
does not satisfy the rhythm so well, nor the argument, unless
indeed we suppose a meiosis, cedat amor? being put for a strong
affirmation. I incline to (A). quippe ubi, Gr. Strov ye,

' of course this must be so where.' The subj. is used after it,
as the statement is general. non liceat. Love and the;

loved one with Propertius wield irresistible constraint. Comp.
the use of cogere 1. 13. 32 ilia suis uerbis eogata mare Iouem.
uacuos, lit. unoccupied, free from her image, 'fancy-free/
Shaksp. Cf. 1. 10. 30 qui numquam uacuo pectore liber erit;
and for ocellos cf. i. 5. 11. seducere, ' withdraw ' to other

objects from the all-absorbing one; generally used of taking
gome one aside.

28. alio nomine, ' for any other reason or purpose ' ; com-
pare Hor. Oct 3. 21 nata mecum consule Manlio, seu tu
querela* siue geris tocos, seu rixam et insanos amoves seu
jacilem pia testa, somnum, quocumque tectum nomine Massi-
cumseruas, Gels. 6. 6. § 14 acres cibi non alio magis nomine
his nocent quam quod lacrimas mouent. cedat. With inf. as
Stat. Theb. 1. 704 aether ii dono cesser e parentes aeternum flo-
rere genas.

29. patet. So patesco, Aen. 2. 309 turn uero manifesta fides
Danaumque patescunt insidiae. ante is nowhere else fol-
lowed by donee. donee attlglt. The perf . ind. with donee is
unusual after a pres. ; but cf. Yirg. G. 4. 313 miscentur tenuem-
que magis magis aera carpunt donee. ..erupere. A curious
archaic form attigat (pres. subj.) is said to occur in some
mss. manus attlglt ossa. The Gron. ms. reads cutis,
plainly a gloss, but pointing to a different interpretation than
the one given above. The copyist seems to have taken the
Latin as meaning ( Love that does not disclose himself till the
hand has touched or, as we should say, can touch the bones '—
which, for the general sense and for the use of the perf., is very
like v. 6. 63, 64 his animum nostrae dum uersat Acanthis amicae,
per tenues ossa has sunt numerata cutes, Comp. also Intro-
duction. Another way of construing it — and by far the most
natural, if we regard the words only — is ' until his hand has
touched the bones'; but the metaphor is strange to the classics.
The ordinary one is to suppose the metaphor is from archery.
' Love, the archer, lurks concealed until his hand has reached
the bones,' sent an arrow to the bones. This agrees well with

80 NOTES. I. ix.

Theocr. 3. 17 os fit KaTCWfjrfxw *«2 it dariw &XP 1 * '**r«i &i
Prop. in. 32 (26), 60 quern tetigit iactu certtu ad oaa
Nor is the ambiguity too harsh for Propertius.

30. quisquis es. The advice continues to be gen:
though the person shews he has one particular application i-f 1
in view. a foge, mss, aufuge, a correction of afuge.

81. poflfuxit eedere. A typical instance of Property
fon:lness for possum. See Introduction. We should expei
cedunt, or at least instead of eedere the passive of some actv
verb. sHices et quercus, as in the legend of Orpheus, '

which perhaps Prop, is thinking. Oaks and rocks are the
of insensate nature. Compare Wordsworth ' She neither
nor sees, Boiled round in earth's diurnal course, With re
and stones and trees.' Ulii, the blanditiae, not as P.

32. The mss. have nedum tu possis. nedum is not unfre-
quently used after an affirmative sentence : so in Livy 9. 13. 1 i
The peculiarity here is that possis is possis non eedere, not, a<
one would expect, possis eedere. [Hence I have accepted i
Baehrens' ingenious conjecture par sis.] spiritus, in apposi
tion to a person, comp. Theocr. 14. 31 kclkoX (pptves and it. IT
(18). 10 n. late. The expression will be harsh and cor
fused if iste has its usual reference to the second person. I:
is better then to suppose iste=ille. Comp. el. 8. 48. '

33, 34. ' Wherefore, if thou canst blush, confess thy error*
with all speed. To say for whom we languish oft lightens ocr
pain in love.'

33. quare. The argument is not very cogent, but Prop.
is fond of this mode of connecting thoughts. Comp. Intro-
duction. Here the connexion seems to be 'You slighted m?
words in the past, and now you have found that I was righf.
Do not disregard them now, but confess your love; which,
believe me, will alleviate your pain.* si pudor est has caused
unnecessary difficulty. It is not a strong expression. Virgil
addresses it to goats Eel. 10. 77 ite domum saturae, si qui*
pudor, ite capellae. It continues the idea in quare, * if yon
nave any respect for me and yourself,' not " if you are ashamed
of loving a slave " P. Propertius appreciated these love cor-
fidences. Compare el. 10. errata, of love, Prop. 1. 13. 35
quoniam nouns incidit error. So in Ov. Am. 2. 4. 3 (a rem:
niscence of this passage) conftteor, si quidprodest delictafaU

34. quo, not to be altered into qua nor taken with •
smore. It is the masc. of indefinite gender. quo perns

i

w trt Vt

IVOTES. I. be 81

&e abl. of the inatr. So with uror, ardeo, ferueo. Compare Hor.
Od. 1. 27. 10 dicat Opuntiae frater Megillae quo beatus uolnere,
qua per eat sagitta. leuat, 'relieve/ as Hor. Ep. 1. 8. 8 quod
leuet aegrum. But observe (1) that it is used without an accus,
following, of. 1. 14. 22 quid releuant uariU serica textilibut K
(2) that it is used with a clause (infinitival) as nam., a use which
Propertius has considerably developed. Comp. t 8. 23 n. and
v. 25 of this elegy. i

I. xvL

Introduction.

The idea of this poem is taken from Catullus 67. It is the
complaint of a house- door about the wrong doings of the
inmates. In this case they are those of a lady of fashion who
conducts her dissipations without regard to her own reputation
or the traditions of the house that she inhabits. The sad
reflections which this occasions are made still sadder by the
lamentations of one of her unfortunate lovers who spends his
nights, on her doorstep, bemoaning his love. Who she was and
who was her lover is not certain. But it is probable that she
was Cynthia and that the wretched lover was Propertius, who
gives a feeling account of his sufferings, not without some sense
that they had their ludicrous side. Compare w. 13, 41 and notes.

Argument.

Door. 'I was glorious once (1 — 4). I am degraded now
(5 — 8). My present mistress lives in open shame, and I cannot
save her (9 — 12). Then to add to my sorrow there is a lover
who is never tired of supplicating and lamenting in the follow-
ing strain (13 — 16). 'Door, why so cruel to me? Why will
you not admit my love or my prayers (17 — 22) ? Even inani-
mate nature has pity on me, but you have none (23 — 26). If
my love heard me, hard-hearted though she is, she would
relent (27 — 32). Some one is happy in my wretchedness (33;
34). This is all your doing, door, though I have never done
you harm (36—40), and have often paid you honours (41 — 44).'
Thus he laments till the dawn breaks ; and between the mistress
and the lover I have no rest (45 — end).

1 — 8. 'I, that in past days of yore was opened for great
triumphs, the door whom Tarpeia's chastity made renowned;
whose threshold has been thronged with gilded cars and wet

p. p. 6

82 &OTES. I. xvi.

with the suppliant tears of oaptives, am now wounded in
nightly brawls of revellers and have oft to complain of blows
from unworthy hands ; and degrading garlands never fail to
hang near me nor torches, signs to the shut out lover, to lie
below.'

1. fueram. The pluperf. heightens the contrast between
the glorious past and the degrading present. See el. 8. 36 note.

patefacta, the household pouring forth to meet the
triumphant general and receive the spoils, which were to adorn
the atrium.

2. Tarpelaepudldtlae, probably not (1) the gen. after lamia =
Tarpeiae pudicae, but (2) the gen. after nota, 'the gen. of
thing in point of which a term is applied ' Boby 1320 ; Hor.
Od. 2. 2. 6 not us infratres animi paterni. If the text be right,
the only thing that we can say about this Tarpeia is that she
was not the famous one.

3. inaurati currus. These were the triumphal cars, Hor.
Epod. 9. 21, 22 io triumphe, tu moraris aureos currus et
intactas bouest, deposited in the vestibule Juv. 7. 125 huiiu
enim stat currus aeneus, alti quadriiuges in uestibulis, For
a description of them see Bich's Diet. s. v. currus.

4. captorum. The captives assigned to the triumphing
general. lacrlmis umlda. Gf. Ov. Tr. 3. 3. 82 deque tuU
lacrimis umida serta dato. There is a latent contrast be-
tween the tears of the captives and of the lovers.

5. potorum, from potus or potort sauda, properly of
sentient things; yet cf. Hor. Od. 1. 14. 5 et malus celeri sauciu*
Africo. noctumls rlxis, cf. Ov. B. A. 31 effice nocturna
frangatur ianua rixa.

6. pulsata queror. It is not easy to say whether Proper-
tius meant (1) queror me esse pulsatam, a Greek attraction, for
which cf. Boby 1350, or (2) queror, pulsata; queror being used
absolutely, 'I utter complaints/ as in Cio. The sense is in
either case substantially the same.

7. desunt pendere, ' fail to hang.' Compare Sil. It 7. 497
pascere nee Pocnis prauutn et nutrire furorem deer at, Tac.
Hist. 4. 11 nee deer at ipse stipatus armatis uim principu
amplecH. In Luoan 7. 670 nee deerat robur in eases ire duci
we see an earlier stage in the growth of the idiom. corona*
See the description of the lover's behaviour at the door of his
mistress, Lucr. 4. 1177 at lacrimans exchmis amator UmiM

NOTES. I. xvi. 83

taepe floribtu et serHs operit postisque superbos unguit amara-
cino et foribtu miser osculafigit, and Catullus quoted on, v. 22.

8. excluslfl. So Mr Tyrrell with the mss. rightly: edd.
exclusi. The faces lying on the ground shew shut-out lovers
that a more fortunate rival is within. faces, which had
lighted him to the house, cf. Pers. 5. 165* dum Chrysidis udas
ebrius ante fores extincta cum face canto,

9 — 12. * Nor can I protect the nights of my mistress from
dishonour, hut, though once so honoured, am the prey of
ribald Bongs. And yet that does not call her back to have
mercy on her own fair fame from a life that is viler than the
licence of the age.'

9, 10. The uncertainties of this couplet are best shewn by
taking the words separately. Infamlfl may be either fl)
gen. or (2) ace. agreeing with nodes. domlnae may De
(1) gen. or (2) dat. after defendere ; cf. V. Eel. 7., 47 solstitium
pecori defendite. defendere may mean (1) 'ward off' dis-
honourable nights from my mistress, or (2) ' protect ' the nights
of my mistress. nobilis may be (1) nom. referring to the
door, or (2) gen. and may mean either (1) noble, or (2) 'notorious.'
I have marked by italics the interpretation I have given
in the translation, which probably represents the general
sense, but is in no particular certain. tradlta, 'made
over,' < surrendered to.' Slightly different is the use (in a
good sense) of committere, credere for committing to writing ;
Hor. Od. 4. 9. 11 uiuuntque commissi calores Aeoliae fidibus
pueUae, Hor. Sat. 2. 1. 30 Me uelut fidis arcana spdalibus
olim credebat UbrU. carminibus, frequently hung outside
the loved one's doors. Cf. Ov. Am. 3. 1. 53 uel quoties foribus
duris incisa pependi, non uerita a populo praetereunte legi (sc.
Elegia), Plaut. Merc. 2. 3. 73.

11. tamen, in spite of the infamia and obscena carmina.
reuocatur parcere...uluere, ' recalled to spare and from living' ;
a two-headed use of the same construction (the inf.) which it is
hard to parallel exactly. For the same word however to be
used in different senses with different parts of the sentence is
not unexampled. Thus Eur. Iph. Taur. 279 Wo£e 3* iffiuov eu
Xfyet* to?$ irXelovi (we thought she spoke well) dfeiv re tJ 0e$
(we resolved to sacrifice) where it is also to be observed that
the inf. is used in the two clauses with a somewhat different
iorce. reuocatur parcere is a constr. like Ov. Am. 3. 9. 36
*ollicitor nullos esse putare deos, Plin. N. H. 9. 17. 31. § 66
dlecem excogitare prouocauit. reuocatur uiuere is analogous to

6—2

84 NOTES. I. xvl

the inf. after prohibere, deterrere Cic. Verr. 1. 5. 14 commemorate
pudore deterreor. suae famae p., Sail. Oat. 52. 32 uerum

parcite dignitati Lentuli, si pudicitiae si famae suae si du
aut hominibus umquam ullis pepercit.

12. turpior. turpiu* would be more usual. The adjec-
tive is used where the feelings or nature of the person are
emphasized : the adverb where the character of the life. Thus
Cic. Att. 3. 5 ego uiuo miserrimus 'I am the most wretched
being alive/ mis ere uiuo 'I live a wretched life.' But in many
cases the distinction vanishes. saecli lunula. It does
not matter whether we take this ' the profligate life of the age,'
which goes better with uiuere, or 'the profligate age, ' which
suits turpior better, a use of the subst. for which see Intro-
duction ; and compare for this comparison between a person
and a quality el. 20. 5 n.

13 — 16. ' In the midst of these complaints I am doomed
to sorrow still more grievously, in sadness deepened by a sup-
pliant's long watchings. He never suffers my posts to sleep,
as he repeats his strains with artful blandishment.'

13. grauibus querelis, mss., with which has Inter can
only mean ' in the midst of such nights as these, ' nodes being
supplied from line 9. haec inter would give a very good sense,
but does not explain has. I have therefore adopted Scaligex's
brilliant emendation graulus querelas, grauius was changed
to grauibus and querelas made to agree with it. deflere
without an ace. is very rare. It comes only in Pliny 1. c. on
el. 5. 31 and Appul. Met. 4. fin. Psychen pauentem ac trepidam
et in ipso scopuli uertice deflentem t with an inf. Manil. 4. 743
minui defleuit onus dorsumque leuari, and with an obj. to be
supplied from the context Tao. Ann. 16. 13 dum adsident,
dum deflent. Observe that the adv. makes the use less harsh.
For the expression comp. rv. 25. 9 limina nostris lacrimantia
uerbis (a distinct allusion to the present passage) and note.

14. a, the preposition; cf. Ov. Tr. 4. 3. 36 tempus et *
nostris exige triste malis,

16. arguta. It is not clear whether this refers to the
'whining, wheedling' tones or to the cunning flattery of
the blanditia. In any case compare i. 18. 26 arguto facta,
dolor e queri. referens, 'repeating.' They had been com-
posed at home. carmlna, a serenade, irapaicXavaLdvpor.

17 — 26. ' Door, crueller to the core, yea than thy mistress
herself, why art thou shut against me with those grim silent

NOTES. L xvi. 85

leaves ? Why art thou ne'er unbarred to let my love in ? Can
nothing teach thee to relent and be the herald of my stealthy
prayers? Shall there be no end vouchsafed unto my pain, but
a dreary sleep here until the threshold is warm? The mid-
night, the sloping stars, the breeze chill with the frosts of
dawn, grieve for me as I he. Thou, the only one that never
pitiest the woes of men, givest me back in answer the silence
of thy hinges.'

17. penltus crudelior, a rare strengthening of the com-
parative. Cf. Yell. Pat. 2. 27. 1 penitus Romano nomini in-
festissimum.

18. mini, ( to my discomfort/ dat. of personal reference.
tarn durls. Propertius is very fond of the expressions which

imply a comparison, even where it is not clear with what the
comparison is made. Compare v. 39 tarn longa querela and
ii. 5. 7. foribus, ' leaves/ of which there were two : hence

fores in plur. = • a door.' See the illustration in Rich, s. v. Ianua,
and compare Ov. Am, 1. 6. 74 (where the parts are specified) uos
quoque crudeles rigido cum limine postes duraque con*
seruae ligna ualete fores,

19. meos amores, not quite the same here as me amantem.
Bather the person is regarded as sunk in the affection, ' I that
am all love.'

reserata admlttls, one idea as reddere mota v. 20.

20. nesda, so Hor. Od. 1. 6. 6 Pelidae stomachum
eedere nescii, Yirg. G. 4. 470 nesciaque humanis precious man-
sjiescere corda. Compare the use of nescit el 5. 24. It may be
a Graecism, though other nations have seen that ( knowledge is
power/ el. 2. 12 note. mota coheres closely with reddere.
Compare Introduction. reddere, 'to deliver' to my mis-
tress.

21. finis, fern, as in Lucr. &c. erlt concessa. See In-
troduction.

22. tepido limine, with tears (of. v. 7. 28 atram lacrimis
incaluisse togam) and the warmth of the prostrate body. The
phrase is perhaps from Catullus 63. 65 mihi ianuae frequentes,
rhihi liminatepida, mihifloridis corollis redimita domus eraU
The use of the adj. is proleptic and — tepefacto; so mollia
el. 20. 22 =mollita and firma rv. 8 (9). 50 =firmata. It is much
the same as saying on the cold threshold fvxpoh irpoOtipois
Callimachus Anth. Or. 5. 23. 2. tristls, broken and dis-
turbed; so amarus somnus in. 12 (10). 6.

86 JO TBS. I. xvl

23. mediae noctes, the indef. plur. ; cf. in. 31 (25). 25 tenia
bibis: mediae nequeunt te frangere noctes. This is the
first period. sidera prona, i.e. the stars which emerged
from the horizon at nightfall have passed the zenith and are
sinking to their setting, Yal. Fl. 3. 33 et iam prona leues
spargebant sidera somnos; the second period, about two or
three in the morning.

24. aura, the third period when the breeze springs up, jnst
before dawn (##0t rp6) ; compare v. 46. dolet, * grieves for
me.' Inanimate nature itself sympathizes with me in my
lonely watch through the night; compare Virg. Ed. 10. 13
ilium etiam lauri, ilium fieuere myricae, <fec. Eoo, 'morn-
ing,' t}<j><j>. Of. Virg. G. 1. 221 Eoae Atlantides abscondantur.

gelu. So in n. 9. 41 sidera sunt testes et matutina
pruina etfurtim misero ianua aperta mihi.

26. respondes tacitls, a kind of oxymoron* The only
answer that comes to the strained ears is silence. tadtds.
So Ov. Am. 1. 6. 49 fallimurf an uerso crepuerunt cardine
postes raucaque concussae signa dedere fores t fallimur* impuU
sast animoso ianua uento. mutua. El. 5. 30 n.

27 — 34. * Oh, that my weak voice might strike through
some hollow chink and fall on my dear lady's startled ears.
Though she be more impassive than the Sicanian rock, though
Hhe be harder than iron and harder than steel, yet she will not
be able to restrain her own eyes, and the sigh will rise amidst
unbidden tears. Now she is leaning in repose on another's
happy arm, while my words are scattered to the zephyrs of the
night.'

27. traiecta, crossing the barrier of the door. uocnla, a
Ciceronian diminutive Att. 2. 23. 1, Ac. caua, ' open, not
stopped up,' cf. v. 1. 149 cauus hiatus 'a yawning gulf.'

rlma, probably abl. of ' road by which,* Roby 1176, though it
may be also the abl. of means as F. takes it. For rima comp.
hi. 9 (8). 16 per rimosas mittere uerba fores; v. 1. 146 per-
suasae f alter e rima sat est.

28. percussas. Of the same time as uertat, 'fall upon
them and startle them.' For this use of the part. comp.
Introduction. Tbis sense of percutere is Ciceronian. uer-
tat, intrans. ; so Livy, in the metaphorical sense, 9. 38. 8 fama
aduersae rei uertit in Romanos, but cf. Plaut. Amph. 1. 1. 95
uortentibus Telebois telis complebantur corpora. auriculas,

ROTES. I. xvL 87

11 popular diminutive preserved in Romance, e.g. Fr. oreiUe.
Observe the tenderness which these diminutives give the expres-
sion.

29. saxo. The ordinary interpretation of this, ' the rocks
of the Cyclops,' is absurd. The lapis molaris or the lava of
Aetna is meant. Strictly it was not a saxum, Plin. N. H. 36,
18. SO. 1S6 nusquam hie utilior t quam in Italia gignitur, lapis-
que non saxum est; but cf. Aetn. 45. Its patientia or endu-
rance is not hardness which is expressed by durior (v. SO) but
capacity for bearing, i.e. retaining fire. In thite sense the
anthor of the Aetna, 408 (Munro), has aed simul atque hausit
jiammas non tutior hausti ulla domus, seruans aciem duramque
tenaci septa fidest ; ut turn est illi patientia uicto, and 421 hie
semel atque iterum patiens ac mille perhaustis ignibus in-
staurat uires* Luoilius (?) had evidently read Prop. See In-
troduction* Slcano, Aetnaean ; so Sicuhu uertex Sen. Herd
F. 80, XuceXbs <nrivdr)p Konn. 14. 56. patientior. So Ov:
Am. 1. 15. SI ut dens patientis aratri; of persons Pliny Ep.
2. 10. 1 (a noteworthy passage) hominem te patient em uel
potlus durum ac paene crudelem qui tarn insignes libros tarn
diu teneas. Passages like i. 8. 28 non tulit ilia preces, and v. SQ
of this elegy, are the best commentary on the use; compare
also the use of the Greek rXrmwp, literally 'enduring,' for
'hardhearted.' [P.'s note is 'more enduring than Sicilian
rock,' i.e. than Aetna. Query, how does he take the passage ?]

30. Observe the correspondence sit licet.. Mt licet, et...et,
and compare Introduction.

31. compescere ocellos, usually lacrimas.

32. spirltus, 'a deep-drawn breath,' 'a sigh 1 ; bo nearly
Hor. Epod. 11. 10 latere petitus imo spiritus, lnultis, * in-
voluntary'; but in 1. 15. 40 fletum inuitis ducere luminibus of
forced tears.

33. nlxa, a favourite word with Propertius, but only in
this form nixus ; in a slightly different sense nixus in rv. 3 (4).
15 inque sinu carae nixus spectare puellae incipiam.

34. cadunt, 'are wasted,' cf. i. 17. 4 omniaqve ingrato
litore uota c a dent; paraphrased by Ov. (?) Her. 15. 208 Zephyri
uerba caduca ferunt. Zephyro is probably like More, quoted
above, the abl. of place.

35 — 44. 'But thou, door, art the sole, the signal cause of
my woe, since thou hast never yielded to my gifts. Thou
hast never been harmed by wantonness from my tongue such

68 XOTES.. I. xvi.

jm the crowd is wont to use in angry jest, that thou shouldest
leave me hoarse with my long complaint to wear the night
through in the street in anxious watchings and delays. Nay, I
have often spun the thread of song for thee in novel verse, and
bent me down to print the gift of kisses on thy steps. How
many a time, traitress, have I turned round before thy posts
and paid the votive offering with hidden hands 1 '

35. maxima, not 'greatest/ which would be an anti-
climax, but 'very great,' a much commoner sense in Prop.;
of. ni. 82 (26). 86 Varro Leucadiae maxima fiamma suae,

86. ulcta, possibly the voc. For the sense of. rv. 11 (12).
19 Oallam non munera uincent, Tib. 1. 2. 9 ianua iam patea*
urii mihi uicta querelis.

37. petulantia, 'wanton attack/ like the butting of ani-
mals ; so peto, petulcu8. The attacks referred to are the abusive
earmina of 1. 10.

38. The Mss. read tota loco. It is clear that loco is for
loco, but not equally clear what tota represents, turba (Puccit
does not account for the uss. reading, and leaves (though this
is a minor matter) quae without an antecedent. -The other
conjectures, trita, torua, theta, have nothing in their favour.
It has occurred to me the poet may have written tecta, mean-
ing that he has never shewn the petulantia which would reveal
the secrete of the house in angry jesting.

89. tarn longa, v. 18 n. patiare, ' do nothing to prevent
me watching,' * bear the sight of my watching.' Comp. i. 8.
13 n.

• •

40. sojliettas moras. P. rightly 'a long and anxious
night-watch.' The ace. is an extension of the cognate ace.
(i. 8.' 22 n.). Comp. pseudo-Tib. 3. 6. 54 tecum longos peruigi-
tare dies,

41. at, 'on. the contrary.' nouo, 'fresh to Rome, 9 the
boast of all the Latin imitators of Greek models: bo Prop.
v. 6. 10 pura nouom uatis laurea mollit iter, rv. 2 (3). 26 qua
noua muscoso semita facta solost; comp. Virg. Eel. 3. 86
Pollio et ipse facit noua earmina. deduxl, 'have drawn out '
as in spinning ;. of. Hor. Ep. 2. 1. 225 tenui deducta poemata
Jilo. uersu nouo, a loose ahL, either of description after
earmina 'poems of novel metre,' or of. manner or means with
{Uduxi.

42. oscula, a mark of respect usually only paid to sacred
buildings, e.g. Tib. 1. 2. 86 et dare sacratis oscula liwimibmt

&OTES. I. xvC 89

Compare debita uota v. 44. The lover intimates this house
waa his temple. oscula nlxa, a bold hypallage for nixus-

oecula dedi. Comp. I. 20. 10 n. uago fluminis hospitio. lm-
preasls, we rather expect impressa, but Prop, has chosen to
vary the ordinary expression. Compare rv. 5 (6). 17 umidaque
impressa siccabat lumina lana. gradlbus, steps up to the

door, dvafiadfjioh. Sen. Ep. 84. 12 praeteri istos grddus diui-
turn et magno aggestu suspensa uestibula. I do not believe it
can refer to stairs or scalae up to the cenacula as Hertzb.
supposes. Mr Beid suggests that it may mean ' checking my
steps.'

43. uerti me. Vulpius explains this by an ancient religious
custom, Pliny N. H. 28. 2. 5. 25 in adorando dextram ad osculum
referimus totum'que corpus circumagimus quod in laeuum
fecisse GaUiae religiosius credunt.

44. occultls, Vulpius takes this as =uelatis like a suppliant's ;
Plant. Amph. 1. 1. 101 velatis manibus orant ignoscamus pec-
catum suum. It would thus be the part, of occulo ' cover up,'
Virg. G. 2. 341 qnaecumque premes uirgulta per agros sparge
fimo pingui et multa memor occule terra. The ordinary expla-
nation is that Propertius wished to be unobserved by passers-
by : and that he turned his back on the door when he placed
the verses upon it. debita uota, dona ex uoto debita ; Aen.
3. 279 uotis incendimus aras.

45 — 48. 'In these laments and others which wretched
lovers know he vents his grief and babbles against the morning
birds. So now, through the vices of my mistress and the
weeping of her constant lover, I am defamed with everlasting
obloquy/

45. haec, the verb of saying being omitted. Observe the
directness of expression in this line, which it is impossible to
preserve in English. miserl noulstls amantes, for the turn
of the sentence comp. Ov. M. 4. 68 primi semistis amantes.
The whole passage bears traces of being imitated from this.

noulstls, ' with which you are familiar. 1 Comp. x. 6. 24
lacrimis omnia not a meis, also note on 8. 46.

46. matutlnls alitibus, not, as P., 'the morning cock'
only, but birds in general, including, for example, the swallow,
called dpOpoy&qs by Hesiod. Compare Aen. 8. 456 et matutini
uo lucrum sub culmine cantus t Ov. Her. 10. 7, 8 tempus erat
uitrea quo primum terra pruina spargitur et tectae fronde que-
runtur aues.- obstreplt = obloquit ur ; Ov. E. P. 3. 1. 21 non
auis obloquitur. . . '. _

9a NOTES. I. xvi

47. nunc, takes up the nunc oi v. 5. semper with
amantis.

48. dlfferor, • bruited abroad ' in a bad sense ; an ante- and
post-classical use of differre. So in i. 4. 22 et te circum omnes
alias irata jmellas differ et. But in Gr. diafopeir is used in a
good sense. fletibU8...inuidla. For the union of ablatives in
the same sentence see Potts' Lat. Prose, p. 42. JUtibus is abl. of
cause Boby 1228, inuidia of means 1214.

I. zx.

Introduction and Argument.

This poem, like eL 5, is addressed to G alius. It warns
him not to put his favourite Hylas in the power of the water
nymphs (1 — 12, and 51, 52), and enforces the warning by the
story of his namesake Hylas and Hercules (13 — 50).

The story of Hylas had been related by several of Properties'
predecessors. The longest accounts are Theocritus Id. 13, and
Apollonius Bhodius 1. 1207 — 1272. Propertius' narrative is
not a mere rechauffe* of these. The episode of Zetes and
Calais (vv. 25 — 32) is not found elsewhere, and there are minor
differences. Among Latin poets, Valerius Flaccus Arg. 3.
521 sqq. gives the Hylas story at length and Virgil and Ovid
refer to it.

It is well worth observing that, though it is the object of the
poet to inculcate a lesson of caution to Gallus and to enforce
it by bringing home to him the woe of Hercules, that woe
is hardly touched upon in the story. It seems as though
Propertius has himself fallen under the spell of the fairy
picture he has called up, and has shrunk from introducing
any tumultuous human emotious which might break its colours
and its calm.

Thus the representation so far from being dramatic is
pictorial and even statuesque in its stillness. The group of
Hylas and the two winged brothers, the deserted orchard and
the meadow round it with its contrast of white and crimson,
the boyish carelessness of Hylas, now plucking the flowers,
now bending over the water, are all brought vividly before us.
But the robber-like act of the Nymphs is softened down to
the gentlest possible constraint, and Hylas" despairing cry and
the agonized answer of Hercules become merely a ' sound ' and
an • oft-repeated reply.' And so too the scene is closed, without

NOTES. I. xx. '91

a word to stir our deeper sympathies, by bringing before us the
utterances which, whether they ware the empty voice of Echo or
the faint dead accents of Hylas, were ' an answer that was no
answer.' A close like this, the last touch to the harmony and
completeness of the picture, Is in the very spirit of Greek art,
and, with the epilogue with which the poem concludes, leads
ns to suspect that Propertius may have had before him a Greek
original.

1 — 4. « For thy unwavering love, Gallus, we give thee this
warning: and lest it slip from thy unthinking mind, the
Ascanius, so cruel to the Minyae, will tell thee that fortune
often crosses the lover unawares.'

I have altered the punctuation of verses 1 — 4. They are
ordinarily read thus :

Hoc pro continuo te Galle, monemus amore,

id tibi ne uacuo drfluat ex animo:
saepe inprudenti fortuna occurrit amanti.

crudelis Minyis dixerit Ascanius.

Which may be translated, ' For thy unwavering love, Gallus,
we give thee this counsel. Let not the saying slip from thy
unthinking mind : fortune often crosses the lover unawares.
So would say the Ascanius, &c.' The choice is one full of
difficulties: but as td=illud, referring to what is coming, is
a very doubtful usage and as the use of dico without an ace.
is very harsh, I have preferred the one first given.

1. hoc, referring vaguely to the advice in the poet's mind
which he is going to give Gallus and support by an example.
For this use of hie compare hi. 6- (5). 19 hoc sensi prodesse
magis: contemnite, amantes. pro, not, as P., 'by' (for the
sake of) ; but ' in return for' your affection for me.

2. Id drives the hoc home. uacuo, not, as Hertzb.
tit vacuus fiat, « flow from your mind and leave it empty, 1 which
is riding the metaphor to death, but 'idle, unthinking'; Virg.
G. 3. 3 caetera quae uacuas tenuissent carmina mentes, do-
fluat ex SLDimo=effluo ex animo Gic. Fam. 7. 14; so Catull.
65. 18 ne dicta effluxisse meo forte putes animo. ani-
mo. A step from this use brings us to animus ' memory ' as in
Virg. EcL 9. 51.

3. Inprudenti, possibly « unwary,* 'imprudent'; but the
proverbial character of the saying and the consideration that
Hercules had not shewn imprudence make the translation
'unawares' preferable, Comp. Virg. G. 1. 873 numquam in-

92 NOTES: I. xx.

prudentibus imber obfuit <off their guard.' ooenrrit,

* crosses their path, confronts them ' ; cf. Quint. 2. 13. 3 si mom
occurret, si ftumen obetabit. So interuenire in Gic. Fin.
L 19. 63 ita fit beatae uitae domina fortuna quam Epicurus
ait exiguam interuenire sapienti.

4- crudelis, contains the pith of the sentence, ' Ascanius'
cruelty ' ; crudelis with dat. as in in. 22. 25 (18. 45) sed rum
Neptunus tanto crudelis amori. The lake is cruel to the
Minyae as being the place where they lost Hercules and
Hylas. WnaiB=Argonautis t as most of them were de-

scended from Minyas, an old king of Thessaly ; Apoll. Bhod.
1. 229 robs uh apurrijas Murfar rrepLvcuerdovTes kIkKi)<tkov fiaXa
irapras, iirel Mtvtfao 6vya.Tpuh> ol r\ct(TToi koX apurroL &<f> aXfiarot
c&xcr6<arro (fipievat. I have given Baehrens' spelling. dixe-

rlt, the reading is not quite certain, some mss. having dixerat.
dixerit is /may tell you,' cfrot av\ compare the discussion in
Roby Gr. Vol. xi. Introd. p. ci. Ascanius. The most

southerly part of. the coast of Bithynia is the Gulf of Oios,
a deep triangular. indentation running nearly due East. The
northern, side of the gulf is formed by the mountain range,
Arganthone (now Sumanly Dagh), the southernmost by the
Mygdonian range. Into the head of this gulf the river Cios
empties itself, after passing through the large lake Ascania
Palm or Ascanius (now Isnik) which is distant about ten miles
from the coast. The whole country in the neighbourhood is
Called Ascania; and even the river Cius Ascanius by Pliny and
Strabo. Probably however Prop, means the lake here, not
the river as the edd. say ; for certainly his Greek authorities
would call the river Klos (as Theocr. and Apoll. Bhod. do) ; and
lacus v. 14 is in favour of the lake. '

5 — 12. ' Thou hast a love very near to Hylas the son of
Thiodamas, not less in beauty nor unlike in name. Him,
whether thou skim the streams of Sila the shady or the wave
of Anio wash thy feet, or thou pace on the edge of the Giants'
shore, or wheresoever a winding river receive thee, do thou ever
shield from the hands of the Nymphs that burn to steal
Ausonian wood-nymphs do not yield the palm in love.'

5. Infra speciem, 'inferior to his beauty*: i.e. inferior to
him in beauty; compare for the expression Hor. Sat. 2. 1. 75
quicquid sum ego, quarnuis infra, Lucili censum in gen i-
Urn que, and note on el. 16. 12.

6. Thlodamanteo. The adj. really corresponds to the Eng.
phr. 'Thiodamas' Hylas.'. proximus, 'very close to,'

NOTES. I. xx. 93

'rivalling'; of. el. 10. 29 lout digna et proximo, Ledae.
ardor, ' object of passion.' Ov. M. 14. 683 tw primus et ulti-
mas illi ardor eris, bo furor 'cause for raging el. 18. 15. It
is not quite similar to Herculis error v. 15, 16: that is Her-
cules qui errat, H, errant, but ardor is (Hylas) quo ardet
[Hercules),

7. huic, mss. hunc which may be retained, with the change .
of cupldaa rapinas in v. 11 to the abl. slue, whether you
are sailing on a river, bathing in (v. 8) or walking by it (v. 9)
or trusting yourself to it in any way (v. 10). leges, ' skim': .
Ov. F. 4. 289 aequoraque Afra legit. Silae. Scaliger's
correction for ms. siluae. The same corruption comes in Yirg.
G. 3. 219 pascitur in magna Sila formosa iuuenca. Sila was
the mountainous district in the extreme south of Italy ; it be-
gan about Locri and included the whole of South Bruttium.
It was well watered and covered with forests; hence Jlumina and
umbro8ae.

8. Anlena, the prose adj. is Aniensis. tlnzerlt, 'moisten,
wet'; of the water, as in i. 6, 32 Lydia Pactoli tingit arata
liquor. The fut. perf, means that it has wetted him, that he
is already in it.

9. Glgantea. The volcanic region round Cumae, called the
Fhlegraean plains, was the scene of the mythic war. between
the Giants and the Gods. spatl&bere, with the slow gait of
a holiday-maker; cf. spatiatur of Pallas' majestic tread n. 2.
7. ora with litorls, in its original meaning ' edge, verge' ;
Yirg. G. 2. 44 primi lege lit oris or am.

10. ubicumque, not * wherever ' with spatiabere supplied,
as P.; but 'anywhere', 'wherever it be,' further limited and
defined by the following ablative 'in the charge of a river.'
ubique and ubicumque mean first 'wherever,' then * anywhere'
and finally 'everywhere.' Examples of the second use are
Prop. rv. 22. 18 natura hie posuit quidquid ubique fuit = Quint.
10. 7. 28 quidquid loquemur ubicumque. uago, hypallage for
uagi (of. note on el. 16. 12). uagus is an epithet of rivers Hor. Od.
1. 34. 9 bruta teUus et uaga Jlumina (Le. all external nature,
whether motionless (bruta) or moving); in. 12 (10). 30 uaga
muscosis Jlumina fusa iugis. The precise force is not easy
to seize. The central meaning of uagus is ' motion through a
wide area.' The rivers then which find their way where they
can through various regions and nations are uagi, just as
is the wind ' that bloweth where it listeth ' (Hor. Od. 3. 29. 24) :
compare the expression aduena Tibris v. 1. 8. In like

94 NOTES. I. xx.

manner the * far-travelling ' sun who passes from land to Ian-'
in his course is uagus, Catull. 64. 271 (Ellis). In m. 12. 30
(quoted above) there is the additional idea of the streams
scattering, and so in uago pede, Catull. .64. 277 (of Peleus'
visitors separating). In Catull. 63. 86, however, pede uago-
4 with rushing feet'; the lion sweeps to his goal with reckless
haste. hospitio, 'reception, housing': so Virg. Aen. 1.

540 hospitio prohibemur harenae.

11. cupldas defende raplnas, imitated Stat. Theb. 4. 696
cup i das Faunorum arcebo rap in as ; cf. id. Silv. 2. 3.
24. cupldas =auidas, Stat. Silv. l.e%; see note on i. 2. 17.

12. non minor, sc. quam alienigenis. It is like Pro-
pertius to omit one member of a comparison; cf. Intro-
duction. Adryasin, mbs. adriacis. Scaliger reads a, Drya-
sin ; but the interjection is not wanted. Lachmann*s Hydri-
asin makes Propertius inconsistent, see v. 45.

13 — 16. ' Lest it be thy lot — hard lot ! — to visit for ever moun-
tains and chill rocks and pools untried before, to feel all that
the ill-starred wanderer Hercules once bore on a foreign
strand and mourned to the unrelenting Ascanius.'

13. ne tibl sit, 'lest it be thine,' i.e. * thy fate'; so Tib. 1
6. 24 tunc mi hi non oculis sit timuisse meis: but * thy work 1 in
pseudo-Tib. 4. 3. 3 neu tibisit duros acuisse in proelia denies;
cf. Prop. iv. 3. 41 n. durum, a sort of interjection, in ap-
position with the sentence ; cf. Hor. Od. 1. 24. 19 durum, ted
Uuiusfit patientia, &c. * it is a hard case.' montes. Compare
i. 18. 27—30. The lover who is debarred from warm human
companionship finds nature hard and unsympathizing.

14. neque expertos-=et inexpertos : so n. 3. 6 nee tolitu*
ponto uiuere toruus aper for et insolitus, m. 26. 6 (20. 52)
nee proba Pasiphae—et improba P., and Virg. Aen. 5. 781
nee exsaturabile pectus. For the sense, cf. Sil. ItaL, 3. 4%
primus inexpertas adiit Tirynthius arces (the Alps). Milton.
Paradise Lost n. 702, ( Or at one stroke of this dart Strange
horror seize thee and pangs unfeU before,* There is the same
feeling of repugnance conveyed in the word as in ignotis v. 15.
nouus i. 8. 30, where see note. For expertos comp. z. 3. 1*
expertae metuens iurgia saeuitiae and note on i. 2. 5. sem-
per, a pardonable exaggeration which must not be pressed;
it only means *very frequently'; so i. 3. 40 o, utinam tela

NOTES. I. xx. &5

producas, improbe, noctes me miseram quales semper habere
iubes. We may compare the hymn celebrated by Thackeray

•Where the skies for ever smile
And the blacks for ever weep.'

&dlie=accedere i. 9. 19 n. ; cf. Sil. ItaL quoted above, a pas-
sage possibly imitated from this. In this and the next couplet
Prop, is thinking of Theocr. 13. 66 crx^rXtot oi 4>i\4opt€i. d\(6-
fievos oW ifx6yrj<T€P uipea koX bpvfiuis.

15. quae, in loose construction with what has gone be-
fore ; cf. Introduction. ignotis, see notes on v. 14 and el.
5. 5. error Herculis, Hercules wandering in search of Hylas,
see on v. 6 and Introduction. perpessus, i. e. drank the
bitter cup to the dregs, cf. in. 22. 15 (18. 35) omnia perpetiar.

16. indomito, comp. Tib. 2. 5, 80 prodigia indomitis
merge sub aequoribus. fleuerat Ascanio. Contrast 1. 12.
15 felix qui potuit praesenti flere puellae. For the tense
Bee notes on el. 8. 36 and 16. 1.

17 — 22. 'For they say that in the olden time the Argo
had set forth from the dockyards of Pagase and had gone far
on her voyage to Phasis, and now had left in her gliding
course the waves of the daughter of Athamas and had brought*
her bark to land on Mysia's rock-bound coast. Here the hero
band, when they had once set foot on the peaceful shore,
gathered leaves and softly carpeted the strand/

17. Fagasae, for this gen. see Introduction. Argon,
the ms. reading. It may be either the aoc. of Argo (cf . Calyp-
son Priap. 68. 23), as L. Muller takes it, or of Argus (Argos),
the constructor or the ship, as Prof. Ellis suggests 1 , comparing
in. 22. 19 (18. 39) where the mss. have ratis Argo. I prefer the
former view, not only on account of the curious tendency of
Propertius to break up one and the same idea under different
aspects into two, for which see i. 22. 8 n., and Introduction; but
also because this analysis is easier in the case of the Argo than
in almost any other. In ancient legends the Argo is personi-
fied. She is a semidivine being, endowed with sentient faculties
and the power of speech. See Arist. Polit. 3. 13. 16 : 'There
is also a legend that the Argonauts left Heracles behind for a
similar reason, the Argo refusing to take him with the rest
(ou yap idtXeur avrov dyeiv ri\v 'A/ryw fiera rd» etXXwi'), as he
dwarfed by his size the rest of the crew.' See also Grote,
Hist, of Greece, vol. i. p. 320 (226). 'Argus built the ship,

l University College Professorial Dissertations 1872—1878, p. 20.

96 NOTES.. I. xt,

inserting in the prow a piece of timber from the celebrated
oak of Dodona, which was endued with the faculty of speech,
Apoll. Bhod. 1. 525, 4. 580,' where the Argo speaks.

18. egressam, roOv. Tr. 1. 10. 6 oeeupat egressas quam-
libet ante rates; more fully egredi e, porta. longe, not with
ulam, rrjv Toppci 656v, as in Virg. Aen. 1. 13 Tiberinaque long*
ostia, Mart. 3. 58. 51 rus hoc uocari debet an domus longet,
which gives a very perplexed construction ; but with isae, cf . v.
1. 80, if the reading be right, hoc ubi Fidenas longe erat ire
uia 'had gone a long way on her voyage. 1 uiam Phaslrtoi
'her voyage to Phasis ': so eae li iter n. 1, 20 and comp. note on
zv. 6 (7). 2. via with gen. in another sense m. 23 (Id). 6.

19. labentem, cf. 1. 17. 27 si quando uestras lab ens Amor
attigit undo* and in. 21 26. 8. It is Tennyson's 'sliding
keel.' AtbamantldM undls, the Hellespont. Athamantis
is only used in the gen.

20. Bcopulls, 'cliffs.' See note on Aseanius v. 4. Of course
the text does not mean they landed on the rocks (cf. v. 21), but
that these were the most prominent features of the country,
adpliculsse, in prose usually with ad. The dat. properly indi-
cates a closer connexion; but cf. Aen. 1. 616 quae tits immani-
bus adplicat oris t

21. pladdls, evdpums: cf. iv. 18 (19). 7 plaeidwn portmw^
t)v. £. P. 1. 2. 62 mo Ilia naufragiis Mora pone daru

22. moUla, proleptic, so as to make them moUia. So dl
12 (10). 26 niueos abluit unda bout* 'makes the oxen white*
and eL 16. 22 n. For this use of leaves compare Aen. 11. 64
molle feretrum 'a bier strewed with leaves,' and v. 6. 10 n.
pura nouom uati laurea mollit iter. It is also possible to ex*
plain it as in the Ovid 1. c. on v. 21. c onip oalta, collected
and disposed on the shore. So ApolL Bhod. 1. 1182 A«x«fqr
^vXAafc Xeifutfrwv +tpov Arrrror cyuf oarret arriprurftu, Theoe.
13. 83 woXXol fc filar aropArajro xapctfrar* **Qh** y4p *+&
fcctra^ ftiya vTtfMJkvm* 6Vaa/>, £r$cr fiovro/um a£i> f3a&&* t frrf-
porro K&rttpom.

23 — 32. 'But the unconquered warrior's comrade had 900*
vet farther before them to seek the scarce water in soma "Virtiirt
spring. Two brothers pursued him, the offspring of the North
wind. Above him hung Zetes, above him hung Calais. With
lifted palms they pressed upon him to snatch kisses and to
bear their prise away from his upturned Usee, each as they fled
in tern, He clings to them withdrawn beneath their wings'

NQTMS. I. xx. 97

furthest edge and pushes with a bough the winged conspiracy
aside. And now the offspring of Orithyia, descendant of Pan-
dion, departed : and Hylas went his way, his way, ah woe !
to the wood-nymphs/

23. proceaaerat ultra. Val. Fl. 3. 530 takes these words,
but uses them' of Dry ope, the nymph who drowned Hylas. The
pluperf. coming after the continuous pres. of v. 22 tegit marks
the rapid advance of the action; 'while they were laying
leaves on the shore, he had gone. 1 Of. Boby 1492.

24. raram lepositi fontls aquaxn, a very curious expres-
sion ; for aquam is used of a different thing with the adj. raram
and the gen. fontis. It reminds one of Greek tragic choruses
which cannot be construed literally, because the meaning is
not apportioned among the several words, but diffused through
the sentence. Perhaps the best way of explaining it is to take
it as a very loose use of the gen. ; cf. v. 9. 60 haec lympha puellis
atria secreti limitis una fluit, 'in a secluded channel,'
though there the meaning comes by a different route. Another
explanation which may be advanced would be to take raram
as in el. 8. 42 n., 'to seek the rare, choice water of some distant
spring.' raram and sepositi will then naturally explain each
other, 'a spring such as you will not often find.' Apoll; Eh.
1. 1207 has rofoa 6' "TXew x a ^ K V *bv K&\irifo vbatyv ofdKov
St'fy™ Kpfyys Upbv wor6v. sepositi, ' put out of. the way,
remote, 1 like repostus, semotus ; so Mart. Spect. 3. 1 quae tarn
tepSsitast, quae tarn gens barbara, Caesar. It also means
(like rarus) ' choice, select-.' So Tib. 2. 5. 8. quaerere, see
1. 1. 12 n., Introduction.

25. AqnlVHrtft proles, the winged sons of Boreas and
Orithyia. They accompanied the Argonauts and prevented them
returning to look for Hercules, which he afterwards avenged
by killing them (Apoll. Bhod. 1. 1300 seqq.). Hence may have
been suggested to Prop, this episode which, we find nowhere
else. sectatl, participle.

26. Observe the thoroughly Greek structure of this line:
and ef. u. 3. 44 met et Eoos uret et Hesperios and i. 2. 30 n.

27. instabant. With inf. as in Virg. Aen. 10. 116* instant
sterner e cdede uiros, Cic. Verr. n. 3. 59. 136 ins tat Scan-
dUiusposcete teciperatores carpere. So Ov. Her. 11. 117
non 08cula frtyida carpsi t and elsewhere. suspensls palmls,
i. e. raising their hands to hold the boy's face while they kissed
it. So i. 3. 16 osculaque admota sumere *rara* manu.
Propertius is evidently describing a scene which he had seen

P. P. 7

98 NOTES. I. xx,

represented in art. The two winged brothers are hovering above
Hylas in the air. One of them bears down upon him to snatch
a kiss from the boy's upturned face. While Hylas is engaged
in warding him off, the other comes and secures the prize
(alterna fuga). Hylas defeats them by clasping one of them
behind under his wing where he could not reach him and
allowing him to raise him in the air (pendens), and by driving
the other off with a branch.

28. ferre, middle, <p4 pea 6 ai, as P.; but it is for 4>4pctw
in in. 10 (9). 18 canoe totiens osculaferre comae. snplii&,
a bold expression of the same class as oscula nixa el. 16. 42.

29. pendens. Hylas was hanging in the air with one arm
round one of the winged brothers who was also hovering in
the air, pendeo is used of anything above the ground, whether
in suspension or not; Stat. Silv. 2. 7. 4 pendentis bibit
ungulae liquorem (of Pegasus), Juv. 11. 107 clipeo uenientis et
hasta pendentis que -dei. secluditur, middle, 'retires be-
hind the shelter of the wing.' extrema ala, probably the part
of the wing where it joined the shoulder. This gives more
force to secluditur. Mr Wratislaw (quoted by P.) takes ala as
Hylas' ' arm.' Supposing ala could mean this — and it cannot —
it would involve explaining sub extrema ala 'he put his head
under his armpit,' a feat of gymnastics impossible even in the
heroic age.

30. uolucres, not for alitum as Hertzb. Their very actions
were winged, submouet, 'puts aside.'

31. For the rhythm cf. Val. Fl. 1. 4. 68 quin et Cecropiae
proles uacat Orithyiae. Pandionlae. Pandion, king of Attica,
was the grandfather of Orithyia. cesslt, 'retired baffled.'

32. Haxnadryasin, *to the Hamadryads,' with ire : for the
dat. cf. i. 15. 8 ut formosa nouo quae parat ire utro, Intro-
duction.

33 — 42. 'Here beneath the crest of Arganthns* mount lay
Pege, a watery home, the joy of Thynian nymphs. Above it
under abandoned trees hung dewy fruits that no care claimed :
and all around in the well-watered mead rose lilies, their clear
white mingling with the crimson poppy's hue. These did he
now pluck from their stalks with tender nail, boylike pre-
ferring flowers to his task of duty ; and now bent in artless
wonder over the beauteous waves and prolonged his truancy with
their mirrored charms.'

NOTES. I. xx. 99

33. ArgantM, usually 'ApyavOwr} or 'Apyavduvciov 6pos
(Apoll. Rhod.) ; but 'ApyavBos is found in Orph. Arg. 636. For
Propertius' habit of cutting his proper names down see 1. 1. 13 n.
Introduction. Pege. Seal. Pegae from Apoll. Eh. 1. 1222
alrj/a $ oye Kp-f}vqv (xereidadev fy Kaktovviv II 177 &s ayx^yvot-
vepivaUrai. But Propertius has not followed Apollonius closely
(cf. previous note), and he may well have taken the liberty of
putting the name of one spring in the sing, sub uertlce, Le.
near the top.

34. grata domua Nymphis. Cf. Aen. 1. 167 fronte sub
aduersascopulis pendentibus antrum: intus aquae dulces iduoque
sedilia saxo, Nymph arum domus. Ovid imitates, Ov. F. 4.
421 grata domus Cereri. umlda, with domus ; cf. Hermo-
creon Anth. Gr. 9. 327 ifdardevTa dbftov and Virg. G. 4. 363
iamque domos mirans genetricis et umida regna. For two ad-
jectives with one subst. see Introduction. Thyniasin, here--
BithynU. Cf. Hor. Od. 3. 7. 3 Thyna merce beatum. Bithynia
was the name of the whole province, Thyni and Bithyni being
two tribes in it, who according . to the geographers were sepa-
rated by the river Psilis or Psilion; cf. Catull. 31. 5 Thyniam
atque Bithynos (Ellis' note).

35. nullae debita curae. The labour of its cultivation
has claims on the plant which must be satisfied. So Virgil
frequently, e.g. Aen. 11. 759 fatis debitus Arum. The ex-
pression may be originally Greek, as in Simon, davary irarres
o0ei\6/Ae0a. nullae, for nuUi; so wno—uni n. 1. 47, toto...
orbi rv. 10 (11). 57. For other examples see Eoby 372, and
Ellis on Catull. 17. 17 pilifacit uni (which is a locative).

36. roscida, * with the dew upon them.' C£ Virg. Ed. 8. 38.
The sun's heat had not reached them. desertls has its
proper force. The trees had been planted and abandoned and
cultivation had renounced its claim upon them. sub,
sheltered by the overarching trees ; cf. Priap. 76. 14 uua pam-
pinea rubens educata sub umbra.

37. irriguo, 'well- watered.' So irriguus hortus Hor. S.
2.4. 16. surgebant, 'were growing high,' of tall plants. So
Hor. S. 2. 2. 124 uenerata Ceres, ita culmo surgeret alto, and
cf. el 2. 11. 1111a. Contrast the description in Theocr. Id.
13. 40. sqq.

38. Candida. By putting the stop after Candida, P. sepa-
rates it from purpureis, thus destroying half the beauty of the

line;

7—2

100 NOTES, I. xx.

89. tenero tftteriliter ungui. Observe how the order of the
words brings Bytes' youth home to as : puerililer, which goes
principally with praetulit, is put next to tenero ungui — an
elegance which the absence of inflexions in English prevents m
from preserving. Soft tender nails are characteristic of youth.
Thus Hor. Od. 3. 6. 24 de t titer o meditator ungui means
4 from her youth up,' i£ airaXav 6vti%t&.

41. formosls, 'beautified/ by reflecting his features. The
reflection of fair scenes is meant also in in. 12 (10). 25 qua
formosa suo CUtumnus flumina luco integit. Compare Yal.
Fl. 1. c. v. 558 stagna uaga sic luce micant ubi Cynthia caelo
prospicit aut medii transit tota Candida Phoebi t tale iubar
diffundit aquis (i.e. Hylas); and, of a girl looking into a
wine vat, Anth. Gr. 11. 64 fiapptapvyfj rtdXXovs p&fta kclt-
T)y\aL<T€r. The ancients Were, however, keenly alive to the
beauty of water in itself; Aen. &. 75 quocumque solo pul-
eherrimus exis, Petron. Sat. 100 quid aquis did formosius
potest} Compare Kdkrj Kfrf)vt), kolWIctwv vScltuv. nesdaa, 'in
his simplicity 1 ; the inexperience of childhood making every-
thing a marvel. Comp. Vit'g. Aen. 7. 381 (of boys spinning a
top) stupet inscia supra impubesque manus. We mnst re-
member too that he did not know the fate that lurked behind
the beauteous mirror.

42. tardat, 'protracts'; a rare sense ^tardum facit er~
rorem, • dragging, slow in ending.' Comp. Virg. (jr. 2. 482
tardis mensibus, 'the long summer months.' The eon verse
transition in Pind. P. 4. 285 ovSi uaKtiwp tA©j o6$4v, 'delaying.'
blandls imaginibus, ' attractive ' adridentibus ; of. Anth. Gr. 7.
170.(Posidippus or Callimachus) rbv Tpterrj val^vra vcpl <pp£ap
' Apxcavdicra €tda\bp p.op<pc.s Kb><f>bt ^irecirdtraro. Observe the
plur. Like Narcissus,- Ov. Met. 3. 458 sqq., he tries the effect
of several positions on the image in the water.

43 — 50. 'At last he makes ready to lift water from the
stream with lowered hands ; and leaning on his right shoulder
he draws the plenteous draught. When, lo, his dazzling fair-
ness fired the Dryad maids, and in marvel they abandoned the
accustomed dance. Then slipt he forward) and they drew hira
lightly through the yielding water. Then Hylas raised a cry
as his form was snatched away. Far away AJcides- gives husi
answer again and again : but faint from the furthest springs
the air brings back his name.'

43. haurire. The word implies the tue of a vessel Winch
is mentioned expressly by Apollonius and Theocritus; see

NOTES, I, xx. 101

below. parat. Theocr, imixe tot<$ r«\i/x<Mr5Ax Kpwaabv

Pa^cu 4t€^/juevo$. flumina, * water'; Ov. M. 14. 768 uenas
et flumina fontifi tficvfere vui,

44. He lay down on the ground, his weight thrown op to
his right shpulder, which rested on the edge of the spring, and
his hands holding the urn while he let it down into the water.
dextro umero, less precisely in Apoll. fiy tvi koXttlv (jpeicev
M X P " irixpipfOeh* plena, probably * sufficient,' c abund-
ant.* So in Cic. Jvosc. Am. 2. 6 pecunia tarn plena et praeclara,
for which we have immediately after patrimonium tarn amplum et
copiosum. This is supported by Theocr. tro\vx av ^°- KpuxraSv
and Apollon. rcpl d* dqireTov tfipaxw vSutp x ^^ £* yxfc VTa
<pop€Vfxevov. It may also be 'from the brimming stream,'
compare Virg. G. 3. 143 plena secundum flumina : in this case
with the subsidiary idea of 'well filled.'

45. cuius, the shoulder or Hylas? accensae, with love ;
cf. I. 2.15 and Apoll. Eh. rijs 8e <ppivas irrotriaev Kvirpis.
Drya4es. Propertius here is in marked disagreement with Apol-
lonius,who says very precisely that the wood-nymphs remained
at a distance (at ye yjkv vXyupoi dr6irpo6cv lartxAciU'ro), while a
water-nymph (p^m4v i^vSarir}) entered the spring and drew
Hylas down. Theocr. calls them Ht&u<t>ai without specifying.
Valerius says they were hunting and that one of them, Dryope,
was startled by the noise of Hercules 1 hunting, and went to see
him, but was frightened by his appearance back to the spring,
where Juno metj her and induced her to beguile Hylas to it.
puellae oal}s attention to their sex and their youth. Cf. Juv.
4. 36 narrate, puellae Pierides: prosit mihi uot dixisse
puellaa. The phrase itself is from Yirg. G. 1. 11 ferte simul
Faunique pedem Pryafasque puellae,

46. injratae, an (accompaniment of the action destituere,
whereas qccensajR gives. Us cause* chorpg, so Theocr. and
Apollon.

47. Observe, that Propertius, unlike his authorities, does
not expressly say that Hylas was pulled down into the water.
It was sq gep.tly done that you mipht h&Te supposed it an
accident (conipare leuiter, facili liquoxe). Contrast Valerius'
prosaic expression 563 magni referehtem nomen amid detrahit,
adiutaa pro.no, nam ponders, uiree. fadM, Comp. i.
11. 12 alternae facili* cedere \ympham<J<m<

48. sonltum fecit. Mr Wratislaw, with Mr Paley's ap-
proval, takes this 'made a splash. 1 To this there are three
objections: (1) if th&?e was a splash and a cry for help, we

102 SOTE& I. xx.

should expect the poet to mention the last, not the first, as
Apollonins does', for the splash could be inferred : (2) 1. 47 pre-
cludes a loud splash ; and turn seems in favour of taking sonitum
as 'cry * : (3) it is ludierous to suppose that Hercules on hearing
a splash at once concluded it was 'that hoy* Hylas. sonitum,
a loud inarticulate cry : sonitus is not common of the human
voice; but we have in Ck. Or. 1. 12. 51 uerborum sonitus
inanis, and Att. 1. 14, 4 sonitus nostros, 'my high-sounding
phrases. 1 rapto corpore. Prop, might have written raptus.
But his representation of the story is throughout panoramic,
not dramatic, and he therefore keeps the physical side promi-
nent. Besides this use of corpus is in keeping both with his
own usage and Latin idiom. Cf. in. 9. (8). 13 nunc iacere e
duro corpus iuuat impia saxo, and n. 5. 21, in. 5. 33 n. and
some excellent remarks in Potts' Lat. Prose, Part u., Ch. r,

49. cui, Hylae, the nearest noun and the nom. of the pre-
ceding sentence.

50. It is not at all clear what answer Hercules (ille) re-
ceived. Virgil and Valerius Flaccus speak of the echo answering :
Eel. 6. 43 his adiungit Hylam nautae quo fonte relictum
clamassent ut litus Hyla Hyla omne sonaret, 1. 596 rursus
Hylan et rursus Hylan per longa reclamat aula : responsant siluae
et uaga certat imago. But Theocritus says Hylas answered
(v. 5. 8) rpls fxkv "1\av avrev 6<rov ftadin rjpvye \atfi6f rpls V dp
6 vats virajcovcrev' dpaia 8* fjcero <piovrj 4% udaros. There
are thus two possible explanations here: (1) nomen= Hylas'
name, which is echoed back (refert) to Hercules from the distant
spring; (2) nomen^ Hercules' name, which is brought back to
him from Hylas at the bottom of the spring. I prefer the last,
as nomen more naturally refers to Hercules and extremus
never means merely * distant' in Prop, but only, 'bounding,
on the edge,' a sense inapplicable here. ab extremis
fontibus then means 'from the furthest part of the spring,'
from 'the beginning ooze, where was the Nymph's grot.' For
the use of extremus cf. Cat. 4. 15 ultima ex origine. aura,
the air conveying the sound. Cf. in. 23 (19). 15 note.

51. 52. 'Warned by this, Gallus, thou wilt guard thy love:
thou hast seen fair Hylas trusting in the Nymphs.'

51. Ms, referring to what precedes. Cf. i. 2. 31 n.

52. tutus, on which uisus, the reading of most mss., is appa-
rently a gloss, is preserved in the Cuiacianus. It may be taken
either (1) as an adj. =cautus, 'you will be careful about trusting/
or (2) as a participle. The objection to (1) is that tutu$ is not

NOTES, I. xx. 103

used in this way with an inf. Horace, A. P. 28 serpit kumi
tutus nimivm, ib. 267 tutus et intra spem ueniae cautus, uses it
absolutely. Still there is nothing impossible in the use; for
we find it with cautus, which, like tutus y meant originally 'cir-
cumspect.' If it is a participle, it may be either (a) passive
( = uisus) or (b) active. Of these I prefer (b); tutus will then
take the inf. credere after it as in Lucr. 1. 152 multa in terris
fieri caeloque tuentur (mortales) and elsewhere, and the general
sense will be 'you have seen Hylas rashly trusting to the
nymphs, putting a misplaced confidence in them, and you
must make him be more cautious for the future.' With (a) or
with uisus, credere will be act., and we may translate 'thou
hast been seen to trust fair Hylas to the Nymphs.' See also
the Journal of Philology, vol. a. p. 65.

L xxi

Intboduction and Aboument.

This poem is put in the mouth of Gallus, probably a kins*
man of the poet, who was killed by brigands in the Perusian
war. In b. c. 41 Lucius Antonius, the brother of Antonius and
consul for the year, headed a rising against Octavian in Italy.
The insurgents were shut up in Perusia, and, after enduring the
last extremities of hunger, had to capitulate. The city was
fired by one of the Perusians themselves, and the captives in
revenge massacred by the victors. See Merivale Hist, of the
Empire in. p. 224 sqq. The sack of the town seems to have
made a powerful impression on Propertius. See the next elegy
and Introduction, p. xvi.

'Wounded soldier, do the last bidding of a fellow-soldier.
Hiet not my sister learn from you the manner of my death, and
tell the finder of my bones to give them burial.'

1 — fin. 'Thou that art hasting to escape thy comrade's
fate, soldier, that comest wounded from Etruscan lines, who
tamest at my moans thy swollen eyes, I am the nearest portion
of your army. Guard well thyself that so thy parents may have
joy; nor let my sister gather from thy tears the deeds that
have been done, that Gallus rescued from amid the swords of
Caesar could not escape from nameless hands; and whosoever
finds bones scattered upon Etruria's mountains, these let him
know are mine.'

104 NOTES. I xxx

1. consortem, generally explained as—awwortiwiij *ypur
comrades' fate/ and this is the substantial meaning no doubt
The places quoted for the enallage do not however bear it out
See on iv. f . 10 and iv. 3. 48 ; and there is no authority for
con8or8=commilito. It is better to take it as = ' shared with
others/ e.g. myself. So Yirg. G. 4, 153 consortia tecta, 'held
in common.' euadert casum, Yirg, G. 4. 486 iamqtiepedem
referent casus ei+aserat omnes.

2. aggerlbus, better (1} * offensive works, siege-mounds,'
the usual meaning, than (2) ' ramparts, defences,' which might
be defended from Virg. Aen. 10. 24 aggeribus murorum and the
agger of Seryius Tullius. Etrusds, Octavian's; lines round
Perusia which L. Antonius was defending. . '

8. qui. Most of the mss. have the reading quid, which
the edd. have taken, though it makes Gallus ask a senseless
question, nostro ffemitu, ' nobis gementibus,' abl. of attend-
ant circumstances. turgentia, not 'swelling, filled with
tears,' as P.; turgere and tumere always mean to be swollen,
to have swelled. So here the soldier's eyes have swollen from
the tears extorted by the pain of his wounds: they are not
filling with the tears of pity (fprae miseratiqne' P.). Cp. Gat.
3. 18 fiendo turgiduli rubent ocelli, Tib. 1. 8. 68 Jletu
lumina fessa tument. torques, is neither for de torques, as
P. suggests, nor, as Kuinoel absurdly supposes, 'rack your eyes
with weeping,' but simply turn. A preposition might have been
expected, as in Aen. 12. 670 oculos ad moenia torsit.

4. proxlma, not = proximo, as Hertzb., against which fhe
mm is decisive. Better, as P., * closely connected with.' He
compares Aesoh. Ag. 246 t6£' dyx«rro* Aviof yalat pum6^povp»
?p*os. In this case pars sum *n«<««* is like Virgil's expression,
Aon. 2. 6 quaea%e ipse miserrima uidi et quorum pars magna,
/tit. A still simpler explanation is 'I am the nearest oi
your fellow-soldiers*; tnilitiae, which in any case is gen.,
meaning in this case 'soldiery,' as in Just, 32. 2, not 'warfare.'
This may seem too obvious; but we must remember that it is
natural for Gallus to appeal to their companionship in mis-
fortune, and secondly that it brings home to us the utter root
of the army of which two wounded men are all that are left
together. uectrae. Had he been speaking to the general,
he might have said tmae.

5» 6. I see no reason torn abandoning the jn. tchiImiji
seruato at poesUtt for Jacobs seraelo postimL Pfcopestias is
very fond of this form of the imperative, sea Introduction ;

X0T$8.. I. x*L 105

and also of an elision after the end of the second foot ; see
Introduction. nee. corresponds to tt v. 9. Something may

be said for Jacob's reading bwc, though nee ean be defended.
The soldier is to conceal from, Gatius* sister the real history of
his death.

6. soror, * my sister.' So we say ' father, ' « mother,* omitting
the personal pronoun. acta, not 'funeral rites/ as in
in. f>. 2 n., but 'what has happened. 1 So Stat. Theb. 2. 651
sine tristia Thebis nuncius acta feram, and in a good sense
Sail. Jug. 53. 8 acta edocent atque audiunt, sua quisque fortia
facta ad caelum ferre. The indefinite acta is quite Propertian.
So facta « injuries, ' 1. 17. 26, facto 'fault* iv. 5 (6). 21. tula
sentiat e lacrimis, i.e. do not betray yourself in her presence.
Do not destroy her fond belief that I was killed in honourable
battle. The expression is a very modern one. It is worth
noticing how Ovid has used the phrase Trist. 1. 1. 13, 14 neue
liturarum pudeat ; qui uiderit Was, de lacrimis factas sentiat
Me meis. Even' where Ovid is not directly copying Propertius
he often has Propertian phrases in his )iead.

7, 8. In apposition to acta.

7. per me4ios tnses ereptum. Cf. Aen f 6. \\to ilium ego
per flammas et mille sequentia tela eripui his umeris.
per 'from amidst': it never =inter (as P. says), neither in
iv. 1. 4 nor v. 4. 20, though in the latter case inter might nave
been used. ereptum either implies that his fate had 4 one
its best fox him in rescuing him from the greater danger, or
else it is the part, of se eripere, to escape. For the turn of
thought cf. Leonidas Anth. Gr. 7. 550 vawrybs y\avKoto <pvywv
TpLnayos dretX&s 'Av$€tos ^diumjv ov <f>iryev alvdXvKov.

8. effuygere manqs, Ci©. Rep. 6. 12 si impias propin-
quorum manus effugeris. ignotas, 'unknown/ here almost
= i ignojbiles,.* So Luoan 10. 338 dignatur uiles isto quaque
sanguine dextrqs quo Fortund parat uictos perfundere Patres
(of Pothinus sending a slave to assassinate Caesar). Compare
Johnson Y an ity °f Human Wishes

' His fate was destined to a foreign sfcajid,
At petty fortress an4 a dubious {fand.'

9. quioumque. I am astonishe4 that the ed<}« without ex-
ception should have taken quaeoumque the reading of some
mss. I cannot believe that Propertius could have made Gallus
saj that 'all the bones pn the mountains of Etruria, were his.*
Although it is' trqe tna{ £e sometimes uses auaecumqne where

106 NOTES. L xxi

we expect quae, this does not help us here, for quae only
makes the statement a trifle less absurd. P. sees the diffieoftr
and slurs it : 'Tell her this... that she may know that my body
was mangled and my bones scattered over the mountain-pasta'
(The italics are mine.) The meaning is clear. The soldier is
to see that Gallus' bones receive a separate bniiaL super nith
montlbus Etrasds.

10. h&ec, the bones in question which he can now iden-
tify.

I. xxii.

Introduction and Argument.

This poem, addressed to Tullus, is a sort of envoi to the
first book. It contains an account, not very precise, of the
poet's birthplace, with a parenthesis lamenting the melancholy
fate of his relation (w. 6 — 8). Poets not nnfreqnently added
an account of this kind to a volume of their poems, just as
German candidates for a degree suffix to their inaugural dis-
sertations their own biographies. Hor. Ep. 1. 20 is another
example.

1 — end. ' What and whence my lineage, what my native
home, thou art ever asking, Tullus, in our friendship's name.
If thou dost know Perusia, thy country's grave-yard, the scene
of death in Italy's hard days when strife with Borne maddened
Home's own sons — to me, Etruscan earth, there should he
ohiefest sorrow: thou hast left my kinsman's corse to lie
unburied, thou ooverest his bones with no dole of dust—
Umbria gave me birth where it touches dose the plains below
with its wealth of fertile land.'

1. quails, not exactly the same as quis, which is com-
moner, but = Gr. vdcos *of what kind of family.' Propertius
prefers the indefinite word (comp. Introduction), and tends to
use it as equivalent to the definite one ; cf. m. 13 (11). 34
«ftuna talis erit quae mea prima fides. quails et trade
genua, so, simu Prop, frequently omits the sub}, of the sub-
stantive verb; cf. I. &. 37. For the form of question et
Horn. Od. 19. 105 rfe *4fe» eft oritur ; **& roc wroXa i*
recoct ; Vixg. Aen. 8. 114 qui genus I unde domo est

3. pro nostra amtetUa, Sail. Jug. 9. S tibi quidem pro
nostra amicitia fr*tmlor=pro iwre nostrae awudtime, Caes.

NOTES. I. xxii. 107

ap. Cie. Att. 10. 86. semper may either (1) go with
amicitia—continua t for which cf. Aen. 1. 198 neque enim ignari
sumu8 ante malorum (r<5v vptv kclkwv) and probably Ter. Andr.
1. 2. 4 eri semper lenitas, and others quoted by Draeger. Hist.
Synt. i. Ill (131), or (2) with quaeris ; so Cicero, in complying
with a request, Orat. 1. 3 quaeris igitur idque iam saepius.

3. Perusina, see introduction to eL 21. patriae sepulcra.
Cicero Cat. 4. 6. 11 cerno animo sepulta in patria miseros
atqueinsepultos aceruos ciuium. Catull. 68. 89 Troia, commune
sepulcrum Europae Asiaeque. So again in n. 1. 27 ciuilia
busta Philippo8.

4. Italiae. The construction of this word is uncertain,
but it probably goes both with funera and with durls temporl-
lras. For the first use compare Cic. Prov. Cons. 19. 45 disces-
mm meum funus difii rei public ae, id. 1. 2 Gabinium et
Pisonem rei publicae portenta ac paene funera, and for the
second Lucr. 1. 41 patriai tempore iniquo; cf. Cic. Sest. 1. 5.

5. dlscordia, almost personified as opposed to Concordia
Lucan 6. 777 effera Eomanos agitat discordia Manes,
eglt, * hounded on.' So Ov. M. 14. 750 quern iam deus ultor
agebat. Hor. Epod. 7. 17 fata Eomanos agunt. Romana
Buos, a curiously roundabout expression. It would have been
more obvious to say ciuilis discordia egit Eomanos. But with
the patriotic Propertius Eoman is a favourite epithet. For a
somewhat similar use see in. 1. 4 n. and Lucan 3. 249 turn
furor extremos mouit Eomanus Oretas.

6. sit, 'should be.' pululs, fern., an archaism.

7. proiecta. Foi the omission of esse see Boby 1444.
perpessa es. The per emphasizes the reproach, 'you never
repented or did your duty/ for which compare iv. 7. 26 Paetum
sponte tua, uilis harena, teg as.

8. This line is a striking instance of a peculiarity of Pro-
pertius noticed on el. 20. 17. An expression like puluis solo
oontegit ossa makes the same thing a personal agent in an
action and then the instrument with which the action is per-
formed.

9. supposlto campo, probably dat. after proxima, as con-
tingens takes an ace. in this sense, e.g. Livy 10. 21. 8.

10. The apodosis to v. 3. The sense is 'If you know
Perusia, you know my birthplace Umbria.' For the thoroughly
Latin form of expression compare V. Eel 3. 23 si nescis, meus

108 JfOTJfS., I. xxii.

iUe cqper fyit, • I tell you that was my goat. ' terris, 4 land,
soil.' So nearly the Bame as glaeba. pompare this passage
with Aen. 1. 531 terra qntiqua, paten* amis atque ubere
glaebae, and Hoc. Od. 1. 4. 10 Jlore terrae quam, fervjU
solutae with. Yirg. Q. 1. 44 Zephyro putrU se y\aeba
tesolu\t.

p. v.

Introduction and Abgument,

The first rebuke to Cynthia that we find in Propertius.
There is nothing to determine the date.

Is this report of your profligacy true, Cynthia (1, 2) ? I
will punish you. I will find another and a truer love (3 — 8).
I will go, I must go at once, lest the lover's weakness make
me relent (9 — 14). I shall suffer too by the separation, but only
at first (15, 16), Be warned, Cynthia, and do not bring my
resentment on your head. Even the sheep is sometimes roused
to retaliate (17 — 20). I will take the revenge of a poet, not of
a ohurl, and will consign you to posterity as lair but fickle
(21—28). This will make you smart (29, 30),

1 — 8. < Is this true, Cynthia, that thou art bruited through
all Rome, that thou art living in open shame? Have I de-
served to look for this t Traitress, thou shalt pay me penalty.
With me too, Cynthia, shall the North wind blow. Still shall
I find out or all your treacherous crew one maiden who mil
oonsent to be ennobled by my verse, nor flout me with thy
har4 ways, but carp at thee. Ah, too late wilt thou weep that
wast t>elqve4 sq long ! '

1. uerum, 'true,' not 'fair.' Propertius cannot believe
his ears, ferr4, usually impersonal *, fertur ; but here like Or.
Tornpux $4p€ff0ai Xen. HelL 1. 5. 17 'to be ill spoken of,
differr\} cf. Suet* Caes. 20 utque utdgo max ferrentu r to
uersut, 'were circulated.' te, in a double sense, (1) 'Cynthia's
name,' or 'reputation,' with ferri, (2) C. herself with, uiuert.
For the first use cf. I. 11. 7 et te nescio qui^...$\utuUt t
nostris, Cynthia, carminibus t and i. 5. 26 n.

2. non ignota, meiosis x 'known to all. Compare Ovid's
imitation Am. 1. 13. 34 an putat ignotam nequitiam esu

* Le. when bo infin. follows.

NOTES. II. v. 109

suam ? neqnitia, frequently used by Propertius in this con-
nexion ; sometimes with grave reproach, sometimes m a lighter
sense, 'frowardness, naughtiness/ as iy. 9 (10). 24,

3. sperafe, * expect/ so Gr. ikrrlfav. In Cicero only with
non or in irony.

4. et noUs. Cf.Virg. Eol. 3.44 et nobis idem Alcimedon
duo pocula fecit, Aquilo. Laehmann's conjecture aliquo= alio
quo, * to some other port/ is inviting ; cf. Brut. ap» Cic.
Fam. 11. 1. 3 migrandum Rhodum aut all quo terrarum. The
sense will then be ' I on my part will seek a fresh love.' But it
is not necessary. Aquilo is, as Prof. Ellis points out, the
treacherous, stormy wind of Propertius ; compare the whole of
iv. 6, esp. lines 13, 71, and v. 11 of this elegy. Besides the meta-
phor is not uncommon in amatory poetry; cf. Meleager Anth.
Gr. 5; 190 tcvfxa t6 iriiepbv "Epwros dicoljniTol re irviovres fr)\oi
and 12. 167 x €l f^P l0V ^v xpevua. uentus, in apposition
with Aquilo. So Aul. Gell. L. L. 2. 30 Aquilones uvnti, Caes.
B. G. 5. 7 Corns uentus, and elsewhere.

5. inueniam. Theocr. 11. 73 evpyffeis TakAteicw fotat kclI
kclWIov' dWau and Virg. Eel. 2. 73. tamen, explained by fal-
lacious, 'though they are treacherous, I will yet find one.'
Cf. el. 4. 20 unde tarn en ueniant tot mala,* caeca uiast, i.e.
though we cannot see the way, it must be there; so Ov. Tr. 1. 5.
81,82 denique quaesitos tetigit tarn en ille Penates; quaeque
diu petiit, contigit arua tarn en. It thus nearly = tandem.
emultis unam, a favourite antithesis with the' ancient writers;
Hor. Od. 3. 11. 29 una de multis.

6. nota. So Ov. Am. 1. 10. 60 quam uolui, not a fit arte

mea.

7. 8. tarn duris. Cf. i. 16. 18 tarn duris clausa taces
foribus and note. For durlB moribui compare 1. 17. 15 nonne
fuit melius dominae peruincere mores ? quamuis dura, tamen
rara puella fuiU Petrarch imitates Propertius, Sonnet 220

Che pur il remembrar par mi consumi,
Qualora a quel d\ torno ripehsandoi
Come uenieno i mei spirti mancando '
Al uariar de* suoi duri costumi.

nec.et 'and not... but.' For examples see Boby 2241.
uallicet, 'pluck at, pull to pieces,' of abusing people in their
absence; Hor. Sat. 1. 10. 79 uellicet dbsentem, Cio. Balb.
26. 57 more hominum inuident, in cbtmiuiis rodunt, in circuits
ue Hi cant, maledico dente carpunt. It certainly cannot mean

110 NOTES. II. v.

' vex and annoy yon by the contrast of her attachment with
yonr levity,' P. Cynthia was not likely to be influenced by
such a sentimental consideration.

9—16. 'Now is thy wrath fresh, Propertius; now is the
time to depart. If resentment be withdrawn, love, trust me,
will return. Not so lightly do Carpathian waves change before
the Northern blasts or the dark cloud eddy with the fitful
South, as angry lovers relent at a word. "While thou mayest,
withdraw thy neck from the unfair yoke. Thou wilt suffer
some pain, too, but only for the first night. Every ill in love
is light, if thou do but bear it.'

9. nunc est Ira recens, addressing himself, sudden changes
of the person being common in Prop. See Introduction,
dlscedere, • to part ' from my mistress. Cf. iv. 25. 7 JUbo ego
discedens ; so abire i. 4. 2 mutatum domina cogis abirt
mea.

10. dolor, the pain of wounded feelings, 'resentment'
Cf. el. 8. 86 tantus in erepto saeuit amore dolor.

11 . ita, closely with variant. P. is wrong in saying < supply
facile. 1 For the variation in the expression non ita uariant
yuam facile mutantur (v. 13) compare in. 6 (5). 1 — 9, which
is even still stranger, non ita...gauisus est... nee sic.uidit
quanta ego collegi gaudia: and n. 9. 88 non sic ineerto
mutantur famine Syrtes nee folia Hiberno tarn tremefacta Noto
quam eito feminea non constat foedus in ira. uariant
includes the changing colour (for which see v. 2. 18 n.) and the
changing motion. The tossing waves are chequered by alter-
nating patches of light and shade. For an enumeration of
the tints which the sea assumes see Cic. Ac. 2. 33. 105.
Aqullo is the dark wind (aquilus).

12. uertttur,' rocks.' Cf. Lucr. 5. 604.

13. mutantur uerbo. Compare n. 4. 21 (31) alter sarpe
uno mutat praecordia uerbo.

14. Ininito. The best commentary is Ovid's imitation
B* A. 90 el tua laesuro subtrake coila iugo.

15. allquld aad prima node. Observe here first that
it is in accordance with Propertius' manner to contrast two
phrases by **d which are not grammatically parallel (aUquid..
prum met*)* cf. t. 1. 98 a era std inuito contigit ista Jides and
it. 7. 46 ; and secondly the pregnant emphasis of the ted clause
* but only >*t for the first night,' This emphasis indeed

NOTES, II. v. 111

times overpowers the adversative meaning of the sed which
becomes merely = K<d ravra 'and that too'; so in Mart, haec
sunt quae relegente me solebas rapta exscribere, sed Vitellianis.

16. si patiare leuest. It seems better on the whole to
take the second person as general than as carrying on the tu of
the previous line. For the snbj. cf. Gic. de Or. hi. 23. 87 ista
dUcuntur facile si et tantum sum a 8 quantum opus sit et habeas
qui docere jideliter possit &o. For the sense cf. Hor. Od. 1.
24. 19, 20 leuius Jit patientia quicquid corrigerest nefas,

16— end. 'Bat in the name of our lady Juno's sweet
claims do thou cease, my life, to turn thy passions against thy-
self. 'Tis not only the bull that strikes his enemy with crooked
horns ; nay, even the injured sheep turns upon her pursuer.
Nor will I tear the robe from thy perjured limbs nor will I
let my anger burst the barred doors before me ; nor could I
bear to pluck thy braided hair in rage or strike thee with my
bard clenched hands. Let some churl seek a combat so de-
grading whose brows the ivy has not circled. I will write then
what no life of thine can efface: "Cynthia's form is queenly,
Cynthia's words are light." Trust me, howsoever thou disdain
the mutterings of report, this verse, Cynthia, will blanch thy
cheek.'

17. at, as in in. 8 (7). 18, &c, marks a sudden appeal.
Iunonls. Iiino Pronuba is meant. Prop, elsewhere speaks of
his attachment to Cynthia as a legitimate marriage; e.g. iv.
20. 26 (16) sacra marita. dominae, not otiose but marking
Iuno's power. 'Do not provoke the domina dea, 1 Ov. Am. 3.
13. 18. dulda, a favourite word of Prop, in this connexion
(e.g. iv. 14 (15). 10), touches a gentler chord. iura, the rules
which she imposes and you should obey ; cf. Ov. M. 6. 535 con-
iugialia iura.

19. hostem properly denotes a public, an avowed enemy;
so here it may = the bull's natural foe. Ct Hor. Od. 4. 4. 10
qualem...alitem...in ouilia demisit hostem uiuidus impetus.
Propertius, however, uses it elsewhere as simply =inimicus t
e.g. li. 4. 17.

20. uerum etlam, a very rare collocation, except in Cicero.
Hor. Sat. 1.6. 88 has uerum... quoque. instanti, if he follows
her up, drives her to bay; cf. Livy 10. 36. 3 ni cedenti instatu-
rum alterum credidissent, Plaut. Cure. 3. 6 si me (or mi) in-
stabunt. repugnat, rare with a dative in the lit. sense;
but cf. the use of pugno with, one Aen. 11. 600, &c. ouls
laesa, as we say ' a trodden worm.'

112 NOTES, IL t*

21. c orpora with periuro, the puniEhment, like the fault,
being corporal ; compare i. 20. 48 n. srtndam uestes, a freqtient
habit of the Roman inamorato in his jealous moods. Gf. Hot.
Od. 1. 17. 27, 28 ne...8cindat haerentem coronam crinibu* in-
meritamque uestem.

22. mea ira, almost ^ejo trains, ci". Herculis error i. 20.
15 h. ; i. 18. 14 non Ua saeua tamen uenerit ira mea ut, Ac. is
another way of putting it. fregerlt. Ov. Am. 1. 9. 20 Mc
(miles) portas f ran git, at Me (amator) fores.

23. conexos, • fastened up, dressed,' which Was usually
done by braiding it and then making it up into a knot behind
or bringing the ends round to the front again, Becker Gallus
p. 439. It was kept in shape by bands or a pin, ib.

24. auslm. For these old optative forms [sim, siem-Gh
i(o)lw) see Roby 619 sqq. pollidbus, 'fists'; the aid of the
thumb being indispensable for clenching the hand. In r. 7. 12
pollicibus means the fingers or their joints.

25. turpia, because with a woman. Cf. Aen. 2. 583 nullum
memordbiie nomen feminea in poena est nee habet victoria
laudem.

26. hederae. The busts of poets, the votaries of Bacchus
(v. 6. 76), were adorned with ivy ; Pers. Prol. 6 quorum imagine*
lamvunt hederae sequdces.

27. lgltur. We might have expected sed; but it is like
Propertius to give the conclusion (as a conclusion) without the
stepB of the argument. Here the connexion is * I shall not
punish you in the vulgar way.' [But I shall not let you go scot
free.] ' Therefore I shall punish you as a poet. ' Bo precisely in
in. 12 (10). 17 — 23 ipse ego uenabor...non tamen ut uastos avsm
temptare leones...haec igitur mihi sit lepores audacia molUs
excipere. tua aetas, i.e. however long your life may be,
you cannot live it down. In a somewhat different sense i. 6. 21
nam tua non aetas unquam cessauii amori; cf. Pind. Pyth.6.
26 faurds hk /tfnrore Ti/xas dpelpeur yovttav (Mov ireirpw/K&w.

28. A striking instance of two contrasted clauses corre-
sponding in outward form but not in substance : ( Cynthia is a
potent beauty, Cynthia is light of word.' forma potens, ?sed
of the beauty itself in iv. 20. 7 est tibi forma potens. It is here
the opposite of leuis figura, i. 4. 9 si leuibus fuerit collate
figuris. Cf. formas^ beauties.,' in. 26. 7 (20. 53). _ iwrta.
here for 'pledges, promises.' Cf. n. on i. 8. 22. The ace. i<
remarkable. It must fall under the head of ace. of 'part con-

NOTES. II. v, 113

cerned, Boby 1102, though it is a strain of the conception to
regard 'words' as a part of a person.

29. quamuis, « however ranch,' as P. rightly. Prop, also
uses it with the suty. in the sense of 'though,' as a rule, though
the indie, is found in four passages. murmura famae, so Ov.
Her. 9. 4L

30. pallori, * a cause of paleness,' to be added to the list of
predicative datives in Boby Gr. x. p. zxxvii

II. vii.

Intboduction.

This poem is addressed to Cynthia, and was written some
time after the law referred to in the Introduction had been
brought forward. It is a jubilant assertion of the impotence of
enactments against love and a renewal of his faith to his
mistress*

Abgukent.

Cynthia certainly shewed unfeigned joy when the obnoxious
law was abandoned : yet, though it proceeded from one greater
than Jove, it could not have parted us (1—6). I would have
suffered anything sooner than have left my love to her woe
(7—12). I am not likely to be the father of soldiers; why
then should I marry (13, 14) ? If my love could go with me,
I would gladly campaign. For it is through her that I am
so renowned (15 — 18). May we be all in all to each other.
This will be better than marriage and offspring (19,

1 — 6. 'Certes Cynthia rejoiced that the law was swept
away whose issuing a while ago made us both weep long lest
it should part us, though Jupiter himself could not sunder two
lovers against their will. "Yet great is Caesar." But Caesar is
great in arms. The conquest of peoples is of no avail in love.'

1. eerte. Propertius looks round, as it were, and reassures
himself by the reflection that about Cynthia's joy there can be
no doubt. So certe comes to mean 'at least.' Cf. m. 22. 23
(18. 43) eerte iedem nudi pariter iactabimur oris. This should
have prevented Lachmann and others from reading es for esU
certe begins a poem as in i. 18. Cf. the Introduction. sub-
latam implies nothing about the manner in which the law was
got rid of. legem. See Introduction.

P.P. 8

114 NOTES. II. viL

SL . quondam. This Mam to imply some considerable laps*
of time. edleta. A loose use ; promtUgata is the proper word
Compare, however, Curt. 6. 11. 20 legem remitter* edixitrei.
flemm. An extension of the historical pres. to a dependent
sentence. Their tears are yet present to Propertius. Compare
t. i and Virg. Aen. 2. 275 quantum mutatus ab Wo Hectare qvi
redit exuuias indutus A chillis, where Aeneas has Hector's
brilliant retain in his mind's eye. There is another use of the
pres, for the preterite, where .the effects of a past action con-
tinue into and affect the present v. 1. 121 Umbria te edit,
Gk. rj rlxrei <rc t *is thy mother.' For fear drawing tears
cf. m. 23. 7 note.

3. ni, a rare bye-form of ne found in inscrr. (beginning
105 b.c.) and probably in Aen. 3. 686. Cf. Boby 2225. di
uideret, dlducere. There is no difference of sense as P. thinks;
see in. 7. 3 n.

. 4. Iupplter ipse. Cf. n. 22. 22 (18. 42) incendat nauem
luppiter ipse licet.

5. at magnus Caesar. Observe the skilful way in which
this gross flattery is served up. To supply potest diducw
makes it far less effective.

6. deulctae gentes =ro KaraveviiajK^at ra tBvq, a predica-
tive use of the part, of which Prop, is fond. Cf. Introduction,

7 — 12. 'For sooner would I have borne this head to quit
its neck than have found the heart to quench the torch of love at
the bidding of a bride, or have passed, a husband, by thy closed
doors and looked back with streaming eyes on what I had be-
trayed. Ah, what sleep would the notes of my marriage-flute
have brought thee then, that flute more dismal than the foneru
trumpet'

7. Compare Horn. H. 2. 259 pipcer ftreir 'Oiurip *o/»7
wfjLoiatp ixeirj and Ovid's shameless appropriation of this
passage Her. 16. 153 ante recessisset caput hoc ceruict
omenta quam tu de thalamis abstraherere meis and Pont. 2. 8. 63.
dtlus, ' sooner,* ■=* rather/ old Eng. rathe being early. P*-
terer. For pati cf. i. 8. 15 n. The imperf. subj. in pater*.
transirem denotes here 'continuous states supposed contrary to
the fact to have occurred in past time- (Boby 1530, 1532 (c))=
4 1 should have been suffering.' The student should, however,
observe that this translation is not available, and that we haw
to translate 'X should have suffered,' which is also the transla-
tion we use for passus essem, Boby 1530 (d).

NOTES. . II. viu 115

8. . possem after paterer is a variation or redundancy, for
which compare el, 5. 11 note. It occurs in other writers, e.g.
Livy 2. 34. 12 hand tarn facile dictu est faciendumne fuerit
quam potuisse arbitror fieri. more, amore the received read-
ing is most unsatisfactory. The use of faces for. ' passion ' is
in itself no doubt possible. So Stat. Ach. 1. 636 and elsewhere.
But here it is intolerably harsh; for the mind at once connects
it with nuptae, and thinks of the marriage-torch ; cf. Ov. Her.
13. 160 perque pares animi coniugiique faces, and compare
i. 8. 21. amore too is not the right word. Besides more is the
ms. reading, and that is, at least, not more unsatisfactory; It
probably means 'at the will or humour ot a bride'; of. Ter.
Audr. 1. 1. 125 alieno more uiuendum est. perdere faces might
either be taken to refer to the waste at a wedding, or else meta-
phorically as in the translation.

9. translrem. A rare use, copied by Ov. K. A. 785 dl
faciant possis dominae transire relict ae limen. Propertius,-
however, always has transire for praeterire t which he does not
use except in the part.

10. udifl. Comp. Ov. Her. 12. 55 oculis abeuntem pro*
sequor udis.

11. quails somnos, i.e. amaros v. 7. 5 cum mihi somnvs
ab exequiis penderet amarus ; cf. I. 16. 22. We should say
'what nights.* caneret, either 'cause by its sound '^canendo
efficeret, Hertzb., who compares Yirg. Eel. 4. 46 talia saecla
*uu dixerunt currite fusis 'run with these ages,' or, as I prefer,
'give the signal for/ like cecinit iussos inflata receptus Ov. Af.
1. 340, In any case it is a strange use.

12. Compare Ovid's imitation Her. 12. 140 tibiaque
effundit socialia carmina nobis at mihi funerea flebiliord
tuba.. The flute was played during -the conducting of the
bride home (deductio) Becker Gall. p. 161. tuba. The flute
was also used at funerals ; cf. Ov. F. 6. 660 and Becker Gall,
p. 511, but the more powerful trumpet made it less noticeable,
So that tuba is taken as the typical funeral instrument. Cf.
v. 11. 9 and Pers. 3. 102 hinc tuba, candelae, &c.

13^-20. 'Why should I furnish sons for my country's
triumphs ? From my blood will no soldier spring. Yet if the
maid I love accompanied a real camp, Castor's great horse
would not make speed enough for me. For hence my glory has
won its far renown, that glory wafted to the Borysthenes' wintry
sons. Thou, Cynthia, only art my joy : may I be only thine.
This love will be more precious, yea than offspring of my bloodj

8—2

116 NOTES. . II. viL

13. Here begins a new division, marked in many of the
mbs. as a separate poem. * I cannot serve my country by re-
signing my love: then why should I do it? 1 unde=T&to
♦from what cause,' as in Flor. 3. 12 unde enim populxu Bo-
manos dgros Jiagitaret nisi per famem quam luxu feceratt; but
only here for the more usual and logical quo, 'for what pur-
pose, ' as in Hor. quo mihi fortunam si non conceditur utif
trlumphls, to win them and take part in them.

14. We may well believe this: see the amusing passage
m. 12 (10). 17—24 and Introduction,

15. uera castra, real warfare, opposed to the militia
Veneris v. 1. 137. Cf. in. 1. 19 haec ego castra sequar and
note, and compare also i. 6. 29. non ego sum laudi non natm
idoneus armis : hanc me militiam fata subire uolunt. me&fl
puellae, the indef. plur. Prop, does not necessarily mean
more than Cynthia. So v. 9. 34 defessis uiris of Hercules only.
Comp. Introduction.

16. sat, either (1) as an adj. and pred. in which case bet
is put for the less vivid esset; compare Aen. 7. 470 se satis
ambobus Teucrisque uenire Latinisque, * he was a match for':
or (2) as an adv., so that iret is put for some more special
word, e. g. properaret, as is not uncommon in Prop. ; of. v. 11.
60 n. equus, Cyllarus, Yirg. G. 8. 90.

17* nine, i.e. apuellis; not, as P., 'from my profession as
a poet. 1 etenim, since I cannot surrender what has brought
me so much glory. tantum meruit mea gloria namen.
Compare in. 5. 21 and Tib. (?) 4. 1. 29 nee tua maiorum
contentast gloria jama. This is another instance of Prop. '6
* distinctiveness ' ; cf. i. 20. 17, 22. 8 notes, mea gloria=*lia
my illustrious aspect,' as in Tib. tua gloria= ' you in yoor
thirst for fame.'

18. hlberaofl. Cf. v. 3. 9 hiberni Getae, Borysthenidu,
the sons of the Borysthenes,' a very modern expression for the
dwellers near the river. But compare n. 9. 17 tunc utrit
gaudebat Oraecia natis, 'in true daughters.' Borysthtw
was another name of the town Olbia near the Dnieper : bnt
Propertius can hardly mean its inhabitants. lata. I cannot
admit that Propertius means that the legionaries take his
poems with them on their expeditions (as in Mart. 11. 3). It j*
of course a poetical hyperbole as in the hymn 'From Greenland's
icy mountains.' Prop., as a poet, likes to send his glory torn-
where, to give it a ' local habitation and a name/ Cf. Tib.

NOTES. II. vfi. 117

1. 5. 86 haee ego fingebam quae nunc Eurusque Notusque iactat
odoratot uota per Armenioe*

19. tu mini sola places, reproduced in Ov. A. A. 1. 42
and in pseudo-Tib. 4. 13. 8. patrlo sanguine, 'offspring
which makes me a father/ a very harsh and strange expression,
and not justified by Gic. Sezt. Rose. 24. 66 which is quite
different: nor can it mean 'the Boman race in a general
sense,' P. sanguine is prob. corrupt and has got in from v. 16,
where it comes in ihe same place. I would read nomine and
compare Lucr. 1. 88 quod patrio princeps donarat nomine
regem, 'I prize happy love more than the name of father *; so
in Greek Soph. Tr. 817 firp-pfor Hyxop 6p6/xaros. Something
may be said for Burmann's emendation Partho sanguine, * spilling
the blood of the enemies of Borne.'

III. i.

Introduction.

This poem is an announcement that Propertius intends to
abandon love themes and celebrate the feats of Augustus. It
is a very vexed question whether it is the introduction to a
fresh book. If it is, it must be regarded as a false start, as
only one poem in the book (xxix., the opening of the temple of
the Palatine Apollo,) has anything to do with Augustus. Bee
more in the Introduction. There is little doubt about the
time it was written. It must have been written when the ex-
pedition of Aelius Gallus into Arabia was in contemplation or
progress, and before its disastrous termination in b.o. 24.
The negotiations with Phraates were also pending which were
concluded in b.o. 28. Hence it was probably composed in the
first half of b. c. 24. Of. note on 1. 15.

Argument.

I must change my subject and take a bolder flight. Enough
of love. I will sing of war (1 — 12). Parthia, India, Arabia, the
furthest land in the world shall all be subdued to Augustus.
This is the great theme that is to inspire me (13 — 20). This is
my humble offering to his greatness (21 — 26).

1 — 6. ( But now 'tis the time to bid other dances pass over
Helicon; 'tis time to let, the Haemonian steed range over the
plain. Now am I fain. to sing the squadrons' courage for the

118 JTOTBS.. IIL L

figpbit and to tell of the warfare of my chief for Borne. Though
strength fail me, yet daring surely will he merit: in great things
it is enough even to have shewn the will.'

1. led breaks off the train of thought and introduces t
new one. 80 Ter. Ph. 5. 5. 5 An. zed Photmiost, quid ais t at
is generally used for this purpose at. the beginning of a book;
so Aen. 4. 1 at regina, &o. aliis ohorels, i.e. not the mollet
choros of in. 32 {26). 42, but the severer measures of epic
poetry. For the metaphor see iv. 1. 4 note.

2. The metaphor changes from the dance with the Muses
on Helicon to the field of song over which the poet guides his
inspired car. So Pindar speaks of ' a four-horsed car of the
Muses,' Pyth. 10. 65; and so frequently in Latin poets, e.g.
Yirg. G. 2. ult., Juv. 1. 19 cur tamen hoc potius lib eat de-
currere campo per quern magnus equos Auruncae Jlexit alumnut
seems to have this passage in view. The moderns generally
prefer the single horse, the Pegasus. So in English

'I bridle in my struggling Muse with pain,
That longs to launch into a bolder strain.'

campum dare. A humbler writer would have said frena dare.
Cic. Mur."8. 18 says less boldly nullum yiobis sots campum
dedit in quo excurrere uirtus cognoscique posset. Haemoato,
Thessalian horses and horsemen being proverbially good, farm
Qc<r<ra\iKol AaKtdai/xovlat re ywaiKes. So in Anth. Or. 9. 21. 1
Thessaly is called xwKorpoxpe. Haemonia is a poetical name
of Thessalia, from Haemon f the reputed father of its eponymous
hero Thessalus ; see Rhianus quoted by Sohol. on Apoll. Ehod.
3. 1090 6 6" av riice 6e<r<ra\oy "At/wr.

8. memorare, not substantially different in sense from
dlcere, v. 4. These variations are very common in Propertins,
and give great freshness to his style : v. 3. 57 fiore sactlla
tego, uerbenis compita uelo, n. 7. 3 ditiideret...diducere, ib.
v. 8 note. fortes ad, cf. Virg. G. 3. 50 fortes ad araira
iuuenci, Ov. F. 2. 686 fortis ad arma.

4. ^ Romana. Propertins, like his contemporaries, breathes
the spirit of imperial Borne (tu regere imperio populos, Roman*,
memento). Compare the proud phrase in. 11. 4 (9. 26) turpii
Romano Belgicus ore color. mei duels, taken by Ov. A. A.
1. 202 Eoas Latio dux meus addat opes. The mei shews the
poet's warm personal interest. The ducti, as P. thinks, refers
to the title imperator.

5* audada, rare in a good sense. " It is almost confined
to the poets and battle descriptions in the historians. " J. S. B.

MOTES* IIL L 119

With thte whole passage and v. 23 compare pseudo-Tib; 4. 1.
1—7 Te, Messala, canam quamquam mecognita virtus terr.et ut
infirma-e,7}equtanl subsistere uires, incipiam tamen; at
meritas si carmina laudes deficiant...e$t nobis uoluisse
satis.

• 6. laus, a prose writer would usually have the dative* CI,
ii. 1. 47 laus in amore mori. uoluisse. Cf. n. on x. 1. 15.

7, 8« 'Let opening life sing the delights of love and closing
life the outbreaks of war. X will sing of war, since X have
written of my fair.'

7. prima aetas, Pind. N. 9. 42 h akudq. rpwra. ex-
trema, not to be pressed. The antithesis prima. ..extrema
has run away with Propertius. In his case the interval- cannot
be more than six years at the most. tumultus, 'risings.'
The best commentary on it is Virg. G. 1. 465 operta turn esc ere
bella. It is specially used of a rising in Italy or QalUa CisaU
pina; cf. Gic. Phil. 8. 1. 8. Propertius uses it interchangeably
with bella, e.g. Hi. 21. 7.

i

8. quando =quoniam 9 quite classical, especially, with ,qui-

9 — 12. ( Now would I move with staider gait and serious
look; now doth my muse teach me another lyre. Bise, my
soul, at last from thy lowly strain: take strength, Pierian
nymphs : high is the tone ye now will need. 1

9. uolo shews alacrity; cf. Cat. 6. 16 nolo te ac tuos
amores ad caelum tepido uocare uersu. Propertius is, however,
fond of these ' potentials '; cf . Introduction. Observe the 6 and
cf. Introduction. subducto uoltu, not • withdrawn into
itself ' P., but * drawn up.' For subducere supercilia, * to draw
up the eyebrows,' was a mark of austerity; Bee Turpil. ap.
Non. 399. 30 (fr 9 68) quom antea uidebam stare tristes, turbido
uoltu sub due ti 8 cum super cilis series, Senec. Ep. 48 med.
&o. procedere, i. 2. 1 n.

10. aliam dtharaxn, i.e. a more exalted strain ; Hor. OcL
4. 2. 33 concines maiore poeta plectro Caesarem. mea,
she is a to* nata iv. 1. 9. docet, as the Muses did Hesiod.
Thepg. 22 at vu voff 'KvloSov KaXrjp i8l8a£av doid-qp. So in
v. 1. 133 Apollo dictates to the poet, turn tibi pauca suo de
carmine dictat Apollo*

11. anima-antww, 'soul, 9 a rare but not unexampled use.
Cio. Nat* D* 1. 31. 87 animam rationis consilique participem.

120 NOTES.. HI. L

Sail. Jog. 2. 2 ingenii egregia facinora, ricut anima, immortaUa
sunt. lam with sorgo.

12. magni oris. This phrase arose from a transference or
confusion of thought. An os magna sonaturum Hot. 8. 1.
4. 44 became an os magnum by association; Virg. G. 3. 294
magno nunc ore son a ndu m . Contrast parua ora rv. 3. 5 n.

13 — 18. 'Euphrates now proclaims that none of Parthia's
horsemen turn their glance behind them and repents it that it
has not sent the Crasai back. Yea, India submits its neck to
thy triumph, Augustus, and the house of virgin Araby trembles
before thee, and wherever there is a land receding from the
verge of the world, that land in time to come will be captive
and feel thy hand.'

18. Phraates agreed to restore the standards and prisoners
taken from Crassus in B.C. 23, but did not do so till b. a 20.
equttem, possibly 'not a single hor8eman. , Cf. for the use of
the simple sing. Cie. Tusc 1. 14. 31 ergo arbores seret diligent
agrieola quartan adspiciet bacam ipse numquam 'not a berry of
which'; and Prop. x. 9. 11. It may also be the collective.

• 14. Crassoe, the Crasai, father and son, their troops and
standards.

15. India, noi= Aethiopia (Hertzberg). The reference is to
the embassy from India mentioned in Bio Cassius 64. 9 where,
speaking of the envoys who came to Augustus at Samos in
b.c. 20, he says 'A very large number of embassies came to
him, including one from the Indians, who had already sent
envoys on a previous occasion (wpoKripvKevcafierot wporepov), and
now formed an alliance with him, giving presents, amongst
which were tigers, which, tQl then, the Bomans had never seen
nor the Greeks either, I believe.' Cf. Hor. quoted on v. 16.
Augusts, v. 6.23 n.

16. domus, a bolder expression than in Virg. G. 2. 115
Boasque domos Arabum. intactae, which has not yet sur-
rendered its treasures to us. Hor. Od. 3. 24. 1 intactis op*-
lentior thesauri* Arabum et dtuitis Indiae. Arahlae. The
expedition of Aelius Gallus into Arabia b.c. 24 was a miserable
failure, chiefly through the treachery of Syllaeus, the king of
the Nabathaei.

17. et at qua. The turn of the expression reminds us of
Virg. Aen. ?. 225 audiit et si quern tellus extrema rtfuso
submouet Oceano, where, as here, Britain is meant, the goal
of Boman aspirations in the West. For the iwd«rfwMt» si q u*
comp. Introduction^ extremis, ' on the edges! tjounding. the

;fotes. iii. i 121

▼odd. Cf. ir. 13 (14). 7 ad extremas siat fenwna metas.
m subtrahlt, 'withdraws/ a sort of middle. A good com-
mentary is v. .9. 56 qua se submota uindicat ara casa; comp.
iv. 8 (9). 15 n. and Introduction.

18. aentiet manus tuas. Cf. in. 7 (6). 18 scissa ueste
meas experiere mama, Augustus never seriously intended to
conquer Britain, and Tacitus attributes to him a policy of non-
intervention, Agr. 13 longa obliuio Britannia* etiam in pace ;
consilium id diuus Augustus uocabat, Tiberius praeceptum,
postmodo, ' a while after,' is to postmodum as anno ante is to
ante annum,

19 — 26. * This camp will I follow. By singing of thy camp
I shall become a mighty bard. May Fate keep that day in
store for me. As, when in lofty statues men cannot touch the
head, they lay the garland here low at their feet, so I, all
powerless to climb in my song thy glory's height, present cheap
incense in humble offering. For not as yet have my strains
reached the springs of Ascra; hut Love has only dipped them in
Permessus' stream.'

19. haec castra, i. e. not those of Venus ; carrying out the
idea of w. 7, 8. Cf. n. 7. 15 n. sequar, so. in spirit and
with my song ; cf. iv. 9. 58,

20. nunc diem, ie. that which sees me a great poet by
singing Augustus' praises ; cf. Ar. Pax 346 el yap iicyipovr iSelv
ravrvp iU wore rrjv Tifitpav. Compare Tib. 1. 3. 93, Ov. Pont.
1. 4. 57.

21 sqq. One of the noblest images of ancient poetry. It
loses something, however, through not being consistently carried
out, Propertius, more suo, changing the metaphor in v. 24.

22. hie, as P. rightly, explained by ante pedes =Gr. avrou
inro rotrlv. So in 1. 19. 7 illic Phylacides iucundae coniugis
heros non potuit caecis immemor esse locis illic is explained
by caecU locis. ante pedes. Cf. Ov. Am. 2. 13. 24 ipse
feram ante tuos munera uota pedes. corona, a frequent
form of offering; cf. Hor. Od. 3. 23. 15 paruos coronantem
marino rore deos fragilique myrto.

23. inopes, only here with inf., for which see Boby 1361.
laudls conscendere carmen, 'to rise to the height of a song
which represents your merits.' The best paraphrase is that of
the pseudo-Tibullus (1. c. on v. 5) meritas si carmina laudes de-
ficiant.. For. the metaphor in conscendere, taken from the in-
spired mount of Helicon, compare v. 10. 3, 4 magnum iter

122 jtoees: m.L

as c en do, sed dot wihi gloria uireif: noniuiiate facili lute
corona iugo. Perhaps Prop, is thinking of 'Hesiod Opt 657
tvBa. fi€ to vpwrop \ ty vprjs iir^tjaay aotHijs.

24. . pauperisms. Alciphron Ep. 3. 35 : * They contributed
each according to his means or superfluity, one a ram, the
poor man a cake, the still poorer a lump of frankincense. 9 So
pseudo-Tib. 4. 1. 7 and 14 nee munera parua respueris...par-
uaque caelestes pacauit mica. sacris. For this metaphor
cf. iv. 1. 3.

25. nondum etiam. Mailer's alteration etenlm is un-
necessary^ as the omission of a connecting particle need not
surprise us in our author and nondum etiam is a common phrase
for * not yet.' Ascraeos. Heliconian and hence poetic (see
next note). Cf. m. 4. 4 Ascraeum sic habitare nemw.
fontes, opposed to flumine. « I have not drunk of the fountain-
head of song. I have merely been dipped in the stream that
flows from it.*

26. Permessi. The source of this river is the fountain
Aganippe on the N.E. of Mount Helicon. It flows past Ascra
and joins the Holmeus, and the combined streams fall into the
lake Copais. lault, one of the ways of receiving, inspiration.
Hesiod. Theog. 5 makes the Muses bathe in Permessus. Amor.
Of. for the sense n. 1. 3, 4 non haec Calliope non hate mihi
dictat Apollo; ingenium nobis ipsa puella facit. Meleager
makes Love melt the wax for the tablets of the poetess Nossis.

IIL ii.

Introduction.

It is surprising that this graceful little poem should hare
been regarded as a fragment. In its miniature perfection it
reminds us of the best Greek iTtypafifiara, the ancient 'sonnets.'

It is the beginning of the end. The indifference which it
professes may be easily hardened into final renunciation.

1,2. 'Others may write of thee or thou mayst be un-
known. He may praise thee who would place his seeds in
barren ground.*

1. The turn of the verse is imitated by Ov. Her.. 20. 73
quamlibet accuses et sis irata licebiU The omission of the

NOTES. III. U. [123

name with do te increases the emphasis, there being no doubt
who can be meant.

2. A proverb, for wa sting one's toil, like ploughing the sand.
Juv. 7. 49 litus sterili uersamus aratro.

3 — 6. 'All thy endowments, believe me, shall the black
4a^of death at last sweep before him in a single bier, and: the
traveller shall pass thy bones with scorning, nor shall he say
/'These ashes were once an accomplished maid." '

3. munera, ' accomplishments, graces'; cf. i. 2. 4 pert*
grinU...muneribn8 and note. .lecto, the funeral bier; in. 5.
5n. tecum. Compare a late inscription (Beines. 18. 23),
which shews traces of a knowledge of Propertius.

: " U M.

Quid sibi uult quaeris tellus congesta uiator t

ossibus hie uxor miscuit ossa meis
nobilis Eufronia facilis formosa puella

docta opulenta pia casta pudica proba.
fortunam mirare meam; uerum exitus hie est.
omnia mecum uno composui tumulo.
~ % nunc et quicquam uotis melioribus opta:

absumit tecum singula sarcophagus.

Hermodoro Paragmid et Eufroniae Paragmiae Lib. Caris-
timxs Hermodorus Praetorius Nomeneulatorposuit. H. M. H. N. S.

4. auferet atra dies, from Yirg. Aen. 6. 429 quos ab-
ttulit atra dies et funere mersit acerbo. extremi, 'closing,'
death the end of all things ; cf. iv. 2. 20 mortis ab extrema
condidone. .In a literal sense el. 1. 17 n. Fox the threat com*
pare the fragm. of Sappho Bergk 68 (19) KarOdvoiaa di KcUreai
vtifftf irora iiviiiMGtiva fftdev foccr* ovre r&r ovff varepor ov yap
irc&xeis pp65wv rw iic Kieplas, d\\' aspavTjs nip *A18a SSfioit
<p<HT&<Tei$ jreb* dfiatipw vzkvwv iKV€Tor*iUva.

5. translbit. Compare rv. 7 (6). 27 andn. 7. 9 n. uiator,
the tomb being by the road-side; cf. v. 6. 84 carmen... quod
turrens uector ab urbe legal and ib. v. 4.

6. dnls hie. N. has haec; and cinis, Mkepuluis in Prop.,
is fern, sometimes, e.g. in Calvus. But Prop, elsewhere has it
masc. docta puella. Cf. in. 4. 11 and Introd.

• i A

y ^V

124 JSfOTBS. in. iii.

Introduction.

The subject of this finished little poem is a picture of the
God of Love, represented in the same way as described by
Eubulus in the fragment quoted on v. 14. Propertius, Kke
Eubulus, criticises the truth of the symbolism* bul in quite »
different spirit. A Terse translation is given in the Introd.

Aboumsnt.

He was a clever painter who painted the picture of Love as
a boy (1, 2). He saw the childishness of lovers (3, 4). It was
a happy thought, too, to add wings to mark the changing caprice
of love (5 — 8), and a quiver to indicate the pangs that strike
us unawares and rankle in oar hearts (9 — 12). In my own
case, Love, yon are still the childish archer ; but where are
your wings (13 — 16)? Why do you pursue your victim so
relentlessly f You will kill me in the end, and then who will
sing of Love and Cynthia (17 — end) ?

1 — 12. • Whoe'er he was that painted Love as a boy,
thinkest thou not he had a wondrous hand? First he saw that
lovers lived in blindness, wasting great blessings on a trifling
fancy. Not idly too he added the waving wings and drew the
God flying o'er the human heart ; since, in sooth, we toss on
waves that rise and &U, and in no place does the breeze with
us stay steadfast. And rightly his hand is armed with barbed
arrows, and a Gnosian quiver mils- from either shoulder;
since he strikes before that from our stronghold we descry the
foe, and none depart unpoisoned from that wound.'

1. Qulcumque Ule fait, of people whose existence we infer
from their works. Gf. m. 31 (25). 27 quicumque menses*
repperit uuas, Tib. 1. 10. 1 quit fait horrendos primus qui pro-
tulit eases t quamferm «t uereferreut iUefuit. Prop, probably
has before him a passage of the comic poet Eubulus quoted on
v. 14. puerum, predicatively. In earlier art he is repre-
sented as an tjnjpos or youth.

2. mlras manus, 'an inspired touch,' as we might say.

3. hie. m. 23. 12 n. sine sensu=ayeu^ifrMt, to five
in insensibility, without perceiving obvious facts; distinct

NOTES. III. ill 125

from sine menu which is to live without a guiding purpose.
Oic. Phil 2. 28. 66 quamuis enim sine mente, sine sensu sis,
tcmen et te et tua et tuos nosti. Compare Theocr. 10. 19 rv<p\6s
& ouk avrbs 6 IIXoDrof aXXd kclI w<pp6vTi<TTos 'Epun. The hoy's
tieedlees life which the poet means is well given by Pers. S.
61, 62 an passim sequeris coruos testaque lutoque securus quo
pesferat atque ex tempore uiuis t

4. leuibus curls, through a 'worthless attachment'; not,
as P., "prae negligentia" or perhaps 'with indifference.' Love
is called cura, from the care spent on a beloved object (cf.
1. 11. 21, 22), and the anxieties it gives rise to (i. 5. 10 cura*
rum milia quanta dabit). In Propertius the latter sense pre-
dominates, bona, wealth, fame, <fec, not 'goods' alone as
P. apparently takes it. perire. For this, which is virtually.
a change to the passive, perdi being not found (except once in
Horace and in part.), cf. Lucan 10. 347 ut colla ferire Caesaris
et socerum iungi tibi, Magne, iuberet,

5. non frustra, ov pArty, ovk irot=merito v. 9. Tib. 1.5.
71 non frustra quidam iam nunc in limine perstat, i.e. 'it
means something that/ <ftc. uentosas, i.e. light and moving
quickly, from Virgil, Aen, 12. 848 uentosasque addidit
alas. Ov. Am. 2. 9. 49 tu leuis es multoque tuis uentosior
alls imitates Prop. There is of course an allusion to its
metaphorical sense of 'fickle.'

6. fecit, 'represented,' as €TTOI€l. Aen. 8. 630 fecerat et
uiridi fetam Mauortis in antro procubuisse lupam. humano
corde, abl. of place as in Virgil ills uolat campis, as v. 15
shews. In the picture he was probably represented flying from
heart to heart; but Prop, has not made this clear, though
Moschufl has 2. 17 koX vrepfeis wj Spins i<plirrarai SKKop ir
d\Ktp wipas i}& yvraucat, irl <jr\6.yx yoii fe KdSrjrcu.

7. alterna. This word is used for anything which shews
two contrasting phenomena alternately. Here it denotes the up
and down motion of the waves ; in i. 9. 24 the alternate move-
ment of the driver's hand. So in in. 22. 34 (18. 54) alter*
nante uorans uasta Charybdis aqua, and in Virg. Aen. 11.426
mult08 alterna reuisens lusit et in solido rursus Fortuna loca-
uit, ' the tide of fortune,' now ebbing, now flowing, iactamur,
we lovers, by the winds which can raise or lull the sea.

8. nostra aura, probably the breeze that bears us, though
it may= 'favourable to us.' Cf. Ov. B. A. 14 gaudeat et uento
nauiget iUe suo. The metaphor aura follows up and explains

126 KOTES. III. iii.

uentosas, v. 5. non ullis lods, not ' in no quarter? an un-
paralleled use of locus, but 'wherever we are.'

9« et merlto = non frustra v. 5. hamatis, ' barbed arrows.*
Compare Pliny N. H. 16. 86. 65. 109: 'The nations of the
East •conduct their wars with ieeds to which they fix points
formidable from a barb which cannot be drawn from the
wound.' They were then a sort of ancient ' explosive bullet'
See the drawing in Rich Diet. s. v. Sagitta.

10. Gnosla, a learned epithet, Cretan archers being famous,
utroque. P.'s explanation of this is the best. 'The quiver
when not in use hung at the back from both shoulders ; when
used it was pulled to one side, and so was suspended from the
opposite Bhoulder. In this case Love holds the barbed arrow
ready in his hand (v. 9), because (quoniam) he aims instanta-
neously... and does not wait to draw the arrow from the quiver.'
Comp. v. 6. 40 et fauet ex umeris hoc onus omne meis. iacet,
not Sot pendet, but of the place of the quiver low down the
back, Rich Diet. s. v. pharetratus. So i. 11. 2 qua iaeet
Herculeu semita litoribus, * the path stretches low.'

11. tuti, from our place of safety, from our stronghold.
The adj. brings out with force that we are safe one moment
and lost the next.

12. ex illo uolnere, after having been wounded by them ;
cf. el. 5. 89 n. sanus, cf. 1. 1. 2, 26 notes. abit, euadit,
* gets off.'

13 — end. 'With me still stay the darts, the boyish, sem-
blance stays. Yet surely he has lost his wings. Since, alas,
he flies forth nowhere from my breast and wages in my blood
unceasing war. What delight is it to thee to dwell in A dry
heart? If thou hast shame, take thy shafts to some other
mark. Better to thrill fresh victims with thy poison. It is
not I, but my phantom shade that feels thy strokes. And
if thou destroy it, who will there be to sing my themes, (this
slight Muse of mine is great glory to thee,) to sing of ray
maiden's head, her fingers and dark eyes, and now daintily her
feet are wont to move ?'

13. In ma, ' in my case,' cf. Introduction* tela manent.
I am as deep struck and as foolish as any. Compare Mosch.
1. c t6£op {gee fidXa pcu6r...Kal xpv<rew repl wurra fapirpu*'
Crffolc b* ivrl roi wucpcl xdXafioi rots woXXdxc KOfifte rirpcforct.
Imago, Hor. & 2. 3. 320 haec a te non multum abludit imago.

XOTJBS. HI. iiL 127

14^ Eubulus ap. Ath. 13. 562 c rls %v 6 ypd\f/as rpQrot
dp drBpwrluv vj KripoxXaffTrpas *E/>«0' vtrbr repot ; a* oi>^.
T?5« xX^r x e ^<W* ypdfew, d\\' i?f aweipos twv rp&rw t<w tow
deov' i<rrlv ydp oib-e kou<£ot o(fre faStos diraXKay^vai ry <p4povri
rrjv vbaov, /3a/>i>? & /c<yu£j?' reus ap ovv £x ot vrrepd tojouto wpay/Aa ;
hypos el ical <j>7j<rl rts,

15. enolat. Gf. Meleag. Anth. Gr. 5. 212 w m-a*©* aw* *al
ror* i<f>lrra<r9at fiev "J&pwres otdar, airoicTrjvai 8* oi>b* o<ro»
Urxfere* nusquam, ' nowhither,' for which Lat. has no word*
Ct Ter. Ad. 2. 2. 88 nusquam abeo, Cic. Att, 7. 3. 11, De Or.
1. 97 ; Livy 29. 17. 8, &c.

16. adslduus. 'For the adj. of. v. 3. 22 aeternusque tuam
paicat, aselle, famem. meo sanguine, abl. of attendant cir-
cumstances, 'my blood accompanying.' See Introduction.
Compare Meleager Anth. Gr. 5. 215 vol yap 8r) rd <ra r6$a rd
p>ij fcdidayfxiva pdXkeiv dWov, del 5* iir tfiol vrrivd ^iovra fftXri,

17. sleds, 'drained of blood/ and therefore unable to
afford you more sport. habltare, Mrp-ai Mosch. 1. 0. Cf,
Juv. 14. 267, 268 Corycia semper qui puppe moraris atque
habit as, ' nay, who live there.'

18. si pudor est, if you have any better feelings (1. 9. 33).
So in Greek alSus is pity. tralce means mainly ' carry across,}
transport,' cf. v. 4. 78 traicit immundos ebria turba pedes, &c;
bat there is a subsidiary sense of 'shooting/ the primary,
meaning with telum; cf. Caes. B. Civ. 8. 19. 1. Comp. Meleag.
Anth. Gr. 5. 179 d\V Wt, twictriirc, Xa/3wp tf M KovQa HdiXa
iicreraffov revival els iripovs uripvyas and Archias Anth.'
Gr. 5. 98 'OirXtfet/, Kfapt, ro£a xcd ek <jkqttqv yavxot i\Bk
dXXoy iyw ydp ex<# TpatfMTos ov&e r&wov* .

19. intactos, cf. 1. 1. 2n. temptare, 'thrill/ oftfce,
shooting of pain; cf. 1. 4. 25 non ullo grauius iemptatur
Cynthia damno. Contrast Virg. Aen. 1. 502 Latonae taciturn
pertempiant gaudia pectus, of pleasure coursing through the
frame,

20. tenuis umbra mea. I am dead (pseudo-Tib. 3.
2. 9 ergo ego cum tenuemjuero mutatus in umbram), and
you are outraging the dead (Ov. Tr. 8. 11. 25 quid inanem
proterU umbram 1 quid cinerem saxis bustaque nostra petis 1 cf. ;
Prop, n, 8. 19, 20). This idea which Ovid more suo has vul-
garized, Am. 3. 7. 16 nee satis ixactumst .corpus an umbra
forem, is 'found elsewhere in ancient compositions, e.g. Cic.

128. VOTES. DX iiL

Quint. Fr. 8. 1 effigiem quondam epirantie mortui; andalao
in modern writing: comp. Ariosto 23. 128

Non son, non $on* io quel che* pajo in viso :
Quel ch' era Orlando e morto ed e sotterra.
La sua donna ingratissima Vha uecUo ;
SI mancando dife, gli hafatto guerra.
Io ton lo tpirto suo da lui diviso,
Che in quetto inferno tormentandoti erra.

Compare also the terrible lines of Shelley (Lament)

'On the living grave I bear
Scatter them without a tear.'

uapulat, a word from common life, such as Propertius is not
afraid to introduce. Of . Introduction. This expression is curi-
ously like that in Plaut. Fers. 2. 4. 26 abigis facile; nam unbn
me a iam intut uapulat, where it = 'I in my absence.' There
is of oourse an allusion. to the poet's attenuated form; cf. 1. 5.
22. umbra mea. For the rhythm see Introduction.

21. quam si perulderis. The turn of the thought in
Meleager Anth. Gr. 5. 215 is different but instructive, el al
ifik rrefrrouf, Xel^u ^wevm 1 M rtipffy ypdfipar* "Bptrof •/»,
leire, /uaupovliir* talla, such as mine.

22. leuis, not quite so strong as in v. 4. gloria magna.
Of. lout in. 1. 6 n.

23. caput, as shapely and covered with golden hair, n. %
5 and Introduction, digltos, as longi (ib.) and eburni il L9.
nigra, a beauty. Hor. Od. 1. 32. 11 Lycum nigris oculii
nigroque erine decorum,

24. molllter Ire. Lovers, male and female, affected a be-
coming walk. Cf. n. 4. 5 nequiquam perfuea meit unguentt
capillit ibat et expenso planta morata gradu, and Anth
Gr. 9. 189 Aeafilies aflpa voowr ptguaJf t\ur<r6fi€*au

UL v.

Iktboductioh.

Thib somewhat gloomy poem begins with the poet's direc-
tions to Cynthia as to how he should be buried, and covlnfe

with melsiwrholy leflettioM on the uncertainty of hfeaodtttf
finality of death, and with entreaties to Cynthia to
faithful to him after his death.

NOTES. III. y. 129

In the Mss. it is attached to the preceding poem, ni. 4;
but I cannot believe that two poems in such, different strains
(for in. 4 is gay and even trifling) can have been originally one,
even with the assumption of a hiatus, still less (with P.) that
this poem is a direct inference (igitur) from the former.

Argument.

•

When death comes, Cynthia, bury me without pomp. I will have
no splendid funeral ; but poetry (9, 10) and love must be there.
Thou wilt be there, Cynthia, to pay the last rites (11 — 18) and
write the epitaph— the epitaph that will live for ever (19 — 22).
And when thou diest, my love, be buried by my side, and till
the hour comes, do not slight me in the grave: for even my
dust can feel (23—26).

Yet oh ! that I had died in my oradle. What is the value
of a life so precarious (27 — 29)? Even Nestor died at last,
happy had he died sooner (30—34). But, Cynthia, thou wilt
mourn me as Venus mourned Adonis (35--40). Yet thou wilt
mourn in vain (41, 42).

1, 2. ' So then against the hour when death shall close my
eyes, hear what ordering of my burial thou must keep.'

1. Compare n. 1. 71 quandocumque igitur uitam mea
fata reposcent.

2. acta, ' instructions.' This is a curious use here, as the
acta are certainly agenda. However Caesar's, or rather Antony's,
acta shew the word may mean 'appointments': and Propertius
has a liking for this indefinite use of the past participle ; cf.
1. 1. 19 n.

3 — 10. ' Then let no funeral pageant march for me with
its long file of masks ; let no trumpet be idly plaintive for my
fate ; let no bier with ivory foot be draped for me then, nor let
me be laid in death on cushions of an Attalus. Absent be the
line of perfume-laden chargers; present the mean rites of a
common burial. Large, large enough for me is the procession,
if three books 'form it, which greatest of all gifts I will carry to
Persephone.'

3. mea, 'in my case.' pompa, the public procession to
the place of burning. Cf. Tac. Ann. 2. 13 (of Germanicus)
Junu* sine imaginibus et pompa per laudes ac memoriam
uirtutum celebre fuit. longs, imagine. Hertz berg remarks
that there is a tendency in Latin to confuse words of number

p. p. 9

130 NOTES. III. v.

with those of size. This is especially the case with things in
the same line, as here. So Ov. M. 4. 80 longoque for amine
buxus, long a dies, 'a long succession of days.' Cf. i. 5. 10 n.
The same tendency is seen in the collective sing, imagine, for
which cf. Sil. Ital 10. 567. spatietur, to be taken literally.
At the funeral of any one who had held curule offices the wax
masks representing his ancestors who had been similarly dis-
tinguished were taken out of their cases and worn by persons
who walked in front of the bier in a similar costume, with the
same insignia as had belonged to the personages they repre-
sented during their lives ; Rich s. v. imago.

4. tuba, 'the note of the trumpet* (n. 7. 12), which was
included in the idea trumpet. For a similar brevity cf. maims,
4 a motion of the hand,' i. 9. 24 n., and see Potts Lat. Prose,
p. 32. It is harsh here, as the identification of tuba with
querela forces us to think of only one side of it, the sound.
nana, because unavailing (v. 41), and perhaps also as super-
fluous (superuaeuus Hor.), as the poet is really immortal. Com-
pare the allegorical language of Hor. Od. 2. 20 and especially
v. 21 absint inani funere naeniae, and the copy by the author of
Consol. Liv. 76 ultima sit fati haee summa querela mei. fati.
44 For the gen. of. Curio ap. Cic. Fam. 2. 16. 1 querelam tem-
porum. A comma should be put after sit 'nor let there be
a trumpet'; then the apposition is no harsher than many
others in Propertius and elsewhere." J. S. R.

5. micro, the descriptive abl. (Roby 1232], the foot or
pedestal of the lectus (fimebris) or bier on which the corpse
lay in state and was carried to the pyre. The drapery (strata)
would be laid on it so as to shew the ivory foot. For a drawing
see Bich Diet. s. v. lectus (6).

6. nixa In, a rare construction, but of. it. 3 (4). 3. Atta-
lico, 'gold-embroidered.' For Attalw, last king of Pergamus,
aurum uestibus intexereinuenit, Plin. N. H. 8. 48. 74. 196; cf. rv.
18. 19 Attalicae uestes. And so usually ; though it sometimes
means 'rich, 1 from his proverbial wealth, bequeathed by him
to the Roman people. mors mea, almost =' my corse. 1 See
Introduction. Hence the bier is called mortifero lecto iv.

12 (13). 17.

7. dealt, 'let it be missed,' be conspicuous for its absence.
Odoriferls, holding perfumes and spices to be thrown on to the
pyre. landbus ordo, nearly = lancium ordo as m. 30 (24).

13 creber platanis surgentibus ordo seems to shew ; see Intro-
duction.

NOTES. III. ▼. 131

8. plebel paruae funeris exequiae. Contrast this with
the imitation in Ov. Tr. 3. 5. 40 praeclarique docent funeri$
exequiae, Consol. Liv. 202. exequiae is literally the 'foUovo-
ing out of the funeral, the funeral ceremonial.' For the pie-
beiumfunus see Becker Gall. 509 sqq.

9. For. this much-disputed line see Introduction. For
est followed by Bint see ii. 6. 16 n.

10. dona. Propertius is probably thinking of the branch
that Aeneas takes to Persephone, Yirg. Aen. 6. 142.

11—22. * But thou wilt follow with bare breast torn, nor
wilt thou be wearied with crying my name, and thou wilt lay
the last kiss on the poor cold lips when the full onyx casket
yields its Syrian offering. Then when the glow from beneath
has turned me to ashes, let but the humblest crock receive my
remains, and over the narrow spot let a bay tree too be planted
to cover with its shade the place of the quenched pyre. And
let there be two lines above it :

The grisly dust ye tread above
Once lived the bondsman of one love.

And this my tomb's renown shall become as far-famed as was of
old the bloodstained grave of Phthia's hero.'

11. sequerls, the regular word. Cf. exequiae. Ter. Andr.
1. 1. 102 funus interim procedit, sequimur. For the fut.
Bee Roby 1589.

12. lassa nocare. We expect uocando. For the inf. cf. el.
7 (6). 46 lassa foret crines soluere Roma tuos. It is only found
in Propertius; but Plautus and Terence have defessus with inf.,
and Stat. Silv. 5. 1. 35 fatisco. The inf. expresses the cause
of the weariness (cf. Plant. Trin. 76 ut te uidere audireque
aegroti stent 'sick of seeing'), not the result which is arrested
by it. Ariosto imitates Propertius 24. 86

Ne alle guance ne al petto si perdona
Che V uno e V altro non percota e fragna,
E straccia a torto V auree crespe chiome,
Chiamando 8 em pre in van Vamato nome.

13. pones. Observe the gentleness of this and the tender-
ness of the dimin. labellls. Compare the imitation in Stat.
Theb. 2. 355.

14. Syrio, because shipped from Antioch (see i. 2. 3, n.).
Cf. Theocr. 15. 114 Ivplta fxtpw. munere, explained by
dabitur, the 'offering' of ointment poured on the burning

9-2

132 NOTES. III. v.

pyre. It might mean ' produce * of Syria, and so i. 2. 4 q.T.
might be explained. Of course the abl. goes with plenu.
onyx, properly a sort of marble of the colour of the human nail
(ovvt), then a vessel made from it ; Plin. N. H. 8. 2 onyx fac-
tum aliquid ex onyche ut uas unguentarium poUmum.

15. suppositus, i.e. lighted from below, Cf. v. 11. 9 subdita
nostrum detraheret lecto fax inimica caput,

16. Manes, the remains or ashes are confused with the
ghost. Cf. Pers. 1. 38 nunc non e Manibus Mis nascentw
uiolae ? = Hamlet 'And from her fair and unpolluted flesh May
violets spring/ Cf. v. 11. 8 n. testa, the cinerary urn of
baked clay.

17. Iannis, not 'the cypress funeraU* the inuisa ci-
pressus of Hor. Od. 2. 14. 23, but the bays of poetic immortality.
bnsto, properly (1) the (lighted or) burnt-out pyre, then
(2) the place of burning, finally (3) the tomb contiguous to
the place of burning. For (1) see Lucr. 3. 906 horrifico tint-
factum te prope bus to, which also illustrates cinerem me ft-
cerit v. 15 and horrida puluis v. 19 (but see Mr Monro'*
note) ; (2) as here, and cf. Festus (Paul.), s. v., bustum proprir
dicitur locus in quo mortuus est combustus et sepultus; (3) i»
common. Kich Diet. s. v. should be read. exiguo, every-
thing is to be on a small scale,

18. quae is not in apposition to umbra, but agrees with
it. For this use of umbra Hertzb. quotes V. Eel. 9. 20 utruti
fontes inducer et umbra. extlncti funeris, the embers burnt
out and slaked by pouring wine and milk on them. See Becker
Gall. p. 519 and Virgil Aen. 6. 226, Stat. Silv. 2. 6. 90 tibi
Setia canes restinxit cineres quoted there, funeris, for which
see v. 11. 3, is softened down by Ovid F. 5. 425 extincto cineri
sua dona ferebant. Note that here and in rv. 15 (16). 25 he
seems to speak of his bones being interred (humari), not con-
signed to a family sepulcrum (sepeliri). Compare iv. 6 (7). 9,
10 and v. 11. 8.

19. duo uersus. The lines are incomplete, an inattention
to detail of which the polished Ovid would not have been
guilty. See for example Her. 2 fin., 7 fin. horrida, * repul-
sive ' not only in its appearance, but from its associations. Cf.
horrifico Lucr. 1. c. on v. 17. puluis, 'ashes/ as in 1. 19.6.
Cf. our ' dust.' For the fern. cf. i. 22. 6.

20. unius, emphatic Propertius often proclaims his fide-
lity. There is a contrast rather implied (cf. iacet) than ex-

NOTES. Ill v. 133

pressed between the life of love and the unsightly reliques of
death.

21. haec, resulting from this. For the 'disjunctive' ex-
pression notescet fama see n. 7. 17 meruit mea gloria
no men and Introduction.

22. fuerant, as if nota erunt had preceded. Of. Horn. Od.
7.69 <& Kelpy icepl Krjpi TerlfAnrat re kcu tariv. The idea
that notescet is formed from esco (ero) is absurd ; both the stems
contain the same inceptive suffix sco. For the pluperf. see
Introduction. Phthli uiri, Achilles, to whose Manes Polyxena
was sacrificed, cf. iv. 1. 26 Haemonio uiro,

23 — 26. 'Thou too whene'er at last thou oomest to thy
doom — forget not this journey — come with white hair to the
stones that speak of the dead. Beware meanwhile thou slight
me in the grave; truth to tell there is feeling in a lover's dust'

23. si quando, 'whensoever/ does not express doubt, but
puts the inevitable prospect as gently as possible. Cf. Cat.
14. 17 si luxerit (Ellis). The turn is Propertian (cf. rv. 7 (8).
25 and Introduction), and harmonizes with the context, which
carefully avoids the word 'death.' In uenies ad fata again
dying is just hinted and no more. The expression is curious;
it is probably suggested by ad lapldes uenl, which is a transla-
tion of Callim. Hymn. Art. 131 4tI erjua tyxovrai,

24. hoc Iter, mortis iteriv. 7. 2. cana uenl contains
a wish that Cynthia may live to ripe old age (cana: cf. si
quando), and a request that she be buried by her lover, hence
the imper. (This is better than explaining it as a strong wish
as in haue, uale, though this is quite possible. See i. 8. 19.)
Cf. ni. 19 (16) fin. uix uenit, extremo qui leg at ossa die. t tibi
no8 erimus: sed iu potius pre cor ut me demissis pi an gas
pectora nuda comis. lapldes memores , ( 1) ' the recording stone, '
the sepulchre which keeps alive my recollection. Comp. Val.
El. 4. 314 pic et memori noscere sepulchro, Ov. M. 8. 745
memores tabeUae {/xv^fiov^ 8s\toi). Thus it = Gr. fwrjua, yarr^
lulov. (2) We may also less probably explain it 'the stones
that think of thee still,' like conscia terra. For the confusion
cf. v. 16 n.

26. ad uerum perhaps means (1) ' in the direction of the
truth or reality,' the vagueness of the expression denoting the
indistinctness of the feeling : sapit is used with ad by Plautus,
in the sense of possessing intelligence, e.g. Pers. 1. 3. 28 sap i*
muUum ad Genium. (2) We may also take it adverbially si
od uerum spectas, or ' so as to attain to the truth.' Compare

134 NOTES. . IIL v.

ad fid em Livy 3. 5. 12 difficile ad fid em est quot pugnaat-
rint ceciderintue exacto affirmare numero, Censorinus de did nat
19. 2 hoc tempos quot dierum e$set ad certum nondum astrologt
teperire potuerunU So in Greek Thuc. 3. 64. 6 ££rj\iyx$ii is to
d\ri$4s. This gives an easier construction, but a weaker sense.
Bat it is, I believe, what Propertius intended. Compare Anth.
Or. 9. 460 el ra.it dXrfdeiaiaiv (a still stranger use) ol red-
rytcdres at<r$7j<riv etxov k.t.X. consda must mean

'sharing a secret, 1 i.e. the lover's secret of a mutual pas-
sion. The sense of 'sympathy' is foreign to the word, and
to take it with sapit is weak in the extreme. Just as cognate*
rogos, iv. 7. 10, means ' his kinsmen's ashes, his kinsmen as
ashes,' so here consda terra means ' a lover's dust.' For the
general sense cf. Gray's Elegy, 'E'en in our ashes live their
wonted fires.' terra. Gf. Oic. Tusc. 3. 25. 59 reddendatt
terrae terra from Euripides Hypsipyle Fr. 757. So in Eng.
e.g. Shaksp. Jul. Caes. in. 1. 254 '0 pardon me, thou piece of
bleeding earth. ' aaplt, of conscious feeling =8entit, cf. v. 6.
93 gamte, Crosse, nigras si quid sapis inter harenas, and an
inscription in Wilmann's Inscript. Lat. no. 607 f. set quic-
quam sapiunt inferi. It is generally used of intelligent
feeling.

27 — 34. 'And oh that any of the sister three had in my
infant cradle bid me resign my life! For why should I guard
this, breath with its precarious span? After three ages men
saw Nestor's ashes. But if on Ilium's ramparts the Gallic
soldier had cut short the destined years of his long old age, he
had not seen the form of Antilochus laid in the earth or cried
'Ah, Death, why dost thou come so late to me?"

27. Here a fresh strain of melancholy reflection begins,
returning in verse 35 to the former subject. prlmls cnnif,
* which come at the beginning'; so Ov. M. 3. 313, It is the
opposite of extremus in. 2. 4 n.

28. quaeuls, in a sort of sick desperation which, it is
true, is not appropriately expressed. de tribus una oarer,
copied by Ovid lb. 240, Martial 9. 77 and the forger of the
Consol. Liv. 243. Similar phrases are frequent, cf . Hot. vtu
de multis. The 'weird sisters,' the Parcae, are mearit.

29. nam. Compare the Introduction. quo, 'for what
good?' dublae horae. For the expression cf. Hor. Ep. 1.
18. 110 neujiuitem dubiae spe pendulus horae. For the gen.
cf. Introduction. P. apparently takes it as dat. and referring
to the hour of death, which will hardly stand.

NOTES. Ill r. 135

30. A good example of how simplicity and vagueness may
ran together. port trla laeela. Naevius ap. Gell. 19. 7. 18
calls him trisaeclisenex. The sentiment forms the point of
two epigrams in the Greek Anthology 9. 112 icai NArr«/> 8*
rj\v0€v els *Aifir)v (Antipater) and 7* 157 i$avtv x^ rpiyiputv
lluXiof.

31. col si longaeuae. The mss. have auis tarn longae-
uae, a conniption owing to cui si being written as one word,
and tarn inserted for the metre's sake. The cui is against
Hertzberg's reading cui tarn longaeuae, as the omission of si
in conditional sentences seems only found where they are de-
tached from the rest of the context ; see the exx. in Boby 1552.
longaeuae senectae is supported by longaeuus sen ex Ov.
Her. 5. 38, longaeua uetustas Mart. (?) Bpect. 5. 8.

32. Galileos. This, the MS. reading, has been altered by
the editors with one consent. And yet I am confident that,
if not right, it is yet nearer what is than any of their con-
jectures. A proper name is required by the contrast to Iliads;
see Introduction. It is not certain who is the miles. It may
be either (1) Hector, see II. 8. 80 sqq. ; or (2) Memnon, who
killed Antilochus as he was defending his father, Quint. Smyrn.
2. 244 sqq. If (1) is the reference, Oallicus may be defended,
as the TdkXos was a river in Phrygia, Herodian 1. 11. 2 Ac, and
Hector may have been connected with it in some legend. If
(2) is the reference, it is probably corrupt, though I have
nothing at present to propose. aggeribus, 'lines of defence.'
Cf. i. 21. 2 n.

33. 34. Antilocni. Compare the imitation in Juv. 10. 250
oro parumper attendas quantum de legibus ipse queratur Fatorum
tt nimvo de stamine, cum uidet acris Antilochi barbam ardent em,
cum quaerit ab omni, quisquis adest, socio cur haec in tempora
duret, quod J 'acinus dignum tarn longo admi&erit aeuo. corpus =
' that fair but lifeless form.' humari, the mss. reading. The
conjecture humati is tempting, as providing Propertius' favourite
use of the part, and giving balance to the verse ; but it is not
necessary, uidisset * * diceret. Tbe change of tense may be
intentional. The pluperf. giving the one shuddering glance,
the imperf. the repeated uncontrollable cries. But see the In-
troduction, mini, m. 29. 1 n.

35 — end. 'Yet thou — thou wilt sometimes weep for thy lost
friend. Duty bids us always love the lover past away. She
bears me witness whose Adonis, fair as snow, the cruel boar
gored as he hunted on Idalia's height. There, as men tell,
l&y the beauteous youth in the swamps, thither thou didst go,

136 NOTES, III. xxi.

Venus, with loose streaming hair. Bat vainly, Cynthia, wilt
thou call the dumb dead back again* For what voice can
there come from the fragments of my bones?'

35. flebls, a request ; not, as P., a propheqf.

36. P.'s translation ('It is usual to love when too late, 1
fas est i.e. mos hominum) is quite wrong. fas est means 'it
is permitted by religion,' and ulro8=' lovers,* as in v. 5. 29
and elsewhere. praeteritos, a very rare but intelligible use.
Cf. our 'past away,' and Pind. N. 6. 32 irapoixon&iav avlpvr
and Gr. olxfawoi. So ire is 'to die' v. 7. 23 and in Lucr.
For the line compare the imitation in Yal. Fl. 7. 208 fas hine
tniki Manes dilexisse uiri,

37. cut, mbs. qui, which Mr Palmer defends, comparing
Ov. (?) Her. 20. 103 testis erit Calydonis aper. niueum, Bion
1. 10 rd 84 ol fU\av cf/fercu aZ/xa x L0V ^ ai *<**"<* eapxdt.

39. illls paludibus, so. Jdaliis. For this use of the pron.
cf. h. 1. 66 una meos quoniam praedatast femina sennu, ex hac
ducentur funera nostra domo. For the abl. cf . i. 14. 1 abiectus
Tiberina molliter unda. formosum iaculsse. For the
change of case compare Lucr. 3. 592 labefacta uidetur tn»
anima ac toto solid de corpore men t em and Ov. Am. 2. 17. 15
sqq. The change of person makes the construction harsher.
The picture is from Bion 1. 7 /ceirai xa\bs "Adwm tv tipcat
fiypbv 666vti, \€Uk6p wphv 656vti tvtcIs.

40. eflusa coma. Again borrowed, as indeed is shewn by
the use of dicerls, Bion 1. 20 a 6' 'A<ppobha Xvcafitwa tXo-
Kafudas am $pvfx<M d\d\rp-ai.

41 goes with v. 35. Manes =o«*a vi 42; cf. v. 16. re-
uocabis. Contrast in. 19 (23). 15.

42. nam elucidates mutos. minuta, the bones now

reduced to a powder. Columella 6 177 has sal minute tritus,
'pounded small.'

III. xxi.

Introduction.

Thbbe is no doubt that the dream which Propertius relates
in this poem was a real occurrence. Its vividness and truth
would be sufficient to shew us this; and if we wanted more
assurance, we could compare Ovid's business-like composition,

NOTES. III. xxl 137

Am. 3. 5, which will also illustrate the difference between an
inspired and a professional poet.

1— & 'I saw thee in my dreams, my life, thy bark all
shattered, move wearied hands through the Ionian surge, con-
fessing all the lies that thou hadst wronged me with, and at
last all powerless to lift thy tresses under their watery load,
like Helle, tossed on the purple waves, her whom the golden
ram bore on its soft fleece. 1

1. In somnls. " So in prose also, not in somniis." J. S. E.

2. Ionlo, through which she would sail on the voyage con-
templated in i. 8. This, coupled with v. 3, suggests that the
poet thought of the shipwreck as the punishment of Cynthia's
perfidy, though with rare delicacy he has suppressed the
thought. rare, 'sea spray.* Cf. Yirg. G. 4. 431 exultant
late rorem dispersit amarum. So Eur. Iph. T. 256 4va\la
5p6(r<i>. (Compare ros marinus, rosemary.) ducere, 'draw
through the water'; Ov. M. 4. 353 alternaque bracchia due ens
in liquidi* translucet aquis.

3. fueras mentita. For the pluperf. comp. Introduction.

4. umore, 'water' as always in Propertius, cf. v. 11.
24 n. posse, v. Introduction.

5. qnalem, a Greek attraction as in Od. 9. 322 to fxtv
ififies iia/cofiep elaopdwret 6<j<jov 0* larov yifof, Virg. Aen. 11.
68 hie iuuenem sublimem stramine ponunt qualem uirgineo de-
nies sum pollice f lor em. The agent of the attraction here is
the agltatam, which would naturally refer to Cynthia, but is
put in the relative sentence as it is applicable to Helle also,
purpureis, i.e. roughened and darkened by the storm.

6. What Ovid (or an Ovidian) can do with a passage of
Prop, we see by comparing Her. 18. 141 — 144 et satis amissa
locus est infamis ab Helle utque mihi parcat crimine
nomen habet. inuideo Phryxo quern p*r freta tristia tutum
aurea lanigero uellere uexit ouis. tergore, the skin with
the hair or wool on it. So in Manilius' imitation 4. 5. 18
(JPhryxum) Colchida tergore uexit. ouis includes 'rams.'
It is masculine. in Varro ap. Non. 216. 23.

7— -10. ' How feared I at the thought that the sea might
bear thy name and the sailor weep while gliding through waters
called from thee ! What did I then undertake to Neptune, to
Castor and his brother, to thee, Leucothoe, a goddess now ! '

138 NOTES. Ill xxi.

8. atque. There is only one other passage (t; % 59
where Propertius leaves atque without elision. The editors
have altered it here (unnecessarily and inconsistently) to
teque. tna, the emphatic word of the sentence. UTwnw
i. 20. 19 n. fleret, through thinking of Cynthia's fate: cer-
tainly a groundless apprehension. But perhaps we most set
it down to Propertius somnians rather than to Propertius
dormitans.

9. cum Castors fratri, an example of a word denoting
relationship referring to a person in a subordinate position in
the sentence. Of. Pind. N. 3. 10 &px* 5* ovpavod xo\w€+4\a
Kpeovri BvyoLTep Soxifiov vfivov, 'his daughter thou.'

10. except We might have expected suscepi, as the poet
is speaking of vows, uota. But the sense is that Propertius
* undertook to do' what they should command. Gf. Sen. H. F.
42 foetus imperia excipit. lam, 'by this time.' Of. m. 26.
15. (20. 61) diuae nunc, ante iuuencae, and Stat. Achill. 1.
24 qua condita ponto fuetibus inuisU iam Nereie imperat
Helle. Leucothoe, Ino. Of. in. 24 (20). 19, 20 Ino etiam
prima Thebis aetate fugatast. hanc mUer implorat nauita Leu-
cothoen. This makes iam clearer. Her troubles are over, and
she is a goddess at last. The mention of Leucothoe suggests
Vv. 13-16.

11 — 16. 'And thou, scarce raising thy finger-tips from the
flood, didst call my name ere dying again and again. Had
Glaucus chanced to see thy eves, thou wouldest have become
the nymph of the Ionian sea, and the Nereids for envy would
be crying against thee, Nesaee the fair and the blue-haired
Cymothoe.'

11. primas, * tip '; cf. Catullus 2. 3 primum digitem.
But Val. Fl. 1. 293, changing the point of view, has extre-
masque manw spanosque per aequora crines. extoUens,
'raising dear.'

12. Cf. iv. 7. 18.

13. ocellos. For Cynthia's beauty see Introduction.

14. puella, 'nymph.' Cf. rv. 7. 67, Penng. Yen. 54
ruris hie erunt puellae uel puellae montium. 8o wvpfq.

15. ob Invidiam. Some good mbs. have prae tmddta, a
Propertian rhythm, but ob is his word to denote a motive, ag.
u. 9. 49 oft regno. In a slightly different sense Virg. Aen.
10. 852 has pulsut ob inuidiam lolio sceptrtiqtte patends.

NOTES. III. xxiii. 139

increpitarent, with dot. ; compare Val. Max. 3. 3. 2 increpitans
AgrigentinU ignauitatem (when there is an ace. of the thing).

16. caerula. Cf. i. 9. 15 caemla mater (of Thetis). The
nymphs of the seas are caeruleae, just as the goddess of the
yellow corn isflaua Ceres.

17 — 20. * But I saw a dolphin bound to thy rescue who
once, I wot, had carried Arion and his lyre. And now I was
striving to plunge from the cliff's height when fear dispelled
this wondrous vision.'

17. ■ubaidio currere, to be added to Roby, Lat. Gr. n. p.
liii. delphinum. The student should note that delphinus
is formed from the Gr. gen. SeXfavos. So Titanus, abacus,
tignus for kvkcuvos.

18. - The fable ' is for belief no dream.' See a very fine
account in Wordsworth's Ode on the Power of Sound. The
story is delightfully told in Herod. 1. 24. uezerat ante. Gf.
i. 8. 36 n. Arlonlam lyram, too bold a phrase for Ovid's
stomach; Fast. 2. 82 Lesbida cum domino sen tulit Me
lyram. Cf. v. 6. 36 n.

19. conabar. The verb and the tense probably express the
ram effort of the dream. Compare an extremely modern passage
in Virg. Aen. 12. 908 sqq. ac uelut in somnis oculos, ubi languida
pressit nocte quies, nequiquam auidos extendere cursus uelle
uidemuretin mediis conatibus aegri succidimus, non lingua
unlet, non corpore notae sufficient uires nee uox aut uerba se~
quuntur.

20. dlscusslt, 'shattered, scattered.' So of scattering the
lingering effects of sleep, rv. 9 (10). 13 pura somnum tibi
diseute lymph a. Ovid Her. 10. 13 has exeussere metu*
somnum. talla, nearly = haec. Compare in. 13 (11). 33
ultima talis erit quae mihi prima fides.

IH. xxiii.

Introduction.

The subject of this short poem is the uncertainty of life
and the futility of the attempts to unravel its mysteries which
are contrasted with the certainty of love. We can already
trace in Propertius the growth of that astrological superstition

140 XOTES. III. xxiit

which was to play such an important part in imperial history.
See Introduction.

1 — 10. ' Lo, mortals, ye search for the uncertain hour of
doom and the path by which death is to come. Through the
clear sky ye seek what Phoenicians have discovered, the stars
that smile or frown on each, whether we advance on Parthia in
the march or Britain on the main, and the perils that the
paths of land and sea conceal. We weep too at the thought
that the hazards of the fray beset our life when on this side
and on that the war-god bids the' doubtful battle join.^ Yea,
and ye fear fire for your homes and falling walls, and the black
cup stealing to your lips.'

1. At expresses strong surprise. It strikes with emphasis
the keynote of the elegy, which is a contrast. Compare in.
1. 1. n.

2. Compare Martial 11. 91. 10 debuerant alia fata ueni re
uia,

3. Phoenicum, through their commerce the great mission'
aries of civilisation. Pliny however makes them the inventors
of astronomy (siderum) N. H. 5. 12. 13. 67 ipsa gens Phoeni-
cum in magna gloria litterarum inuentionis et siderum nauali-
umque ac bellicarum artium. " There is a curious mixture of
the use of the stars as guides in travel in which the Phoe-
nicians excelled and their use in foretelling the future." J. S. B.
inuenta, in apposition to the object of quaeritis, i.e. to the
following line. Cf. iv. 3. 4.

4. commoda, apparently an astrological term. Ov. lb.
210 nee ulla commoda nascenti Stella leuisque fuit,< Petron.
Sat. 30 just inverts the expression qui dies boni quique in*
commodi essent.

5. sequimur, used in a double sense. It means ' puisne 1
with pedibus, and * make for, go towards ' with classe, as in
Cic. Att. 10. 18. 2 Formias nunc sequimur. Some good mk.
read sequitur. For the Parthians and Britons combined see
Hor. Od. 1. 21. 15 and Prop. iv. 1. 16, hi. 1. 17.

6. marls et terrae with uiae, genitives like that in Tib. 2.
6. 3 et seu longa uirum terrae uia seu nag a ducent aequora.
For the turn of the verse cf. v. 1. 88 et maris et terrae
longa sepulera canam. caeca, 'hidden.' Cf. Plato's epigram,
Anth. Gt. 7. 265 vavrjyov rd<f>os elfd' 6 6° avrlov iarl ycwpyov. wf
aXi xal yalj} {wos vreor 'Aldrjs.

NOTES. III. xxiii. 141

7. flemus here is used with all its possible constructions,
inf. (i. 7. 17), ace. and ne with subj., n. 7. 3, which see. For
a similar change of constr. cf. i. 5. 22. Strange as it may
seem to us, one of the signs of fear amongst the ancients was
weeping; cf. Hor. Od. 1. 3. 18 qui sice is o cults monstra
natantia, qui uidit mare turgidum. caput. Some mss. capiti.
tumultu. Muller's restoration for tumultum. For the -u form
see Boby 390, and for tumultus el. 1. 7.

8. Cf. Virg. G. 2. 282, 283 necdum horrida miseent
proelia, sedmediis dubius Mars errat in armis. dublaa
manus, i. e. hostility of uncertain issue. utrlmque, i. e. in
the two engaging armies.

9. rulnas, a common danger at Borne. See Juv. 3.
190—196. domlbusque, for the repetition see Introduction.

10. subeant, 'rise unawares.' Cf. 1. 14. 20 nee timet ostrino,
Tulle, subire toro, v. 2. 30 clamaiis capiti uina subisse meo.
nigra, from the discolouring effect of poison on the corpse
and on the liquid ; Aen. 4. 514 nigri ueneni, Virg. G. 2. 130
atra uenena. tuis. For the change of number cf. hi. 20
(17). 43, 47 uidistis quandam... cum satis una tuis insomnia
portet ocellis,

11 — 16. 'Only the lover knows when he shall die and
whence his death-stroke comes. He fears not arms nor north-
wind's blast. Yea, though he be sitting, oar in hand, beneath
the reeds of Styx, and looking on the gloomy sails of the bark
of hell, let but the breath of his darling's cries once call him
back again, and he will retrace the journey though all laws
withstand.'

11. periturus, sit being omitted, a rare ellipse (cf. Introd),
except in Prop, where it is not uncommon. Cf. I. 8. 37, Ov.
M. 3. 719 ilia quid Act a eon nescit. a morte. Cf. iv. 25. 5
ista sum captus ab arte and i. 16. 14. The cruelty of his
beloved is his death.

12. blc, more vivid than is, 'the one I am discussing.* Cf.
in. 3. 3. Compare Introduction.

13. sub harundine, the boat being moored under the reeds
on the bank. Cf. iv. 9. 36. For the reeds of Styx cf . Virg. G. 4.
478 deformis harundo. remex. The ghosts row, as in Aris-
tophanes Ban. 201 and Virg. Aen. 6. 320.

14. cernat, cf. uidere 1. 1. 12 n. infernae ratte, like
infernae rotae i. 9. 20.

1« SOTES. III. nil.

15. BttJBMrtfa lias more us. authority than damnation, and
gives as good a sense. Cf. I. IT. 23 Ule mrum atremo da-
maittt pulucre nomrn, and for the sense v. 7. 23, 24, Cool!
dammit m ot itself mean 'morti addietia,' as P. takes it* un,
a hold expression, 'the oirthat conveys theory,' Cf. I. 20. 60 n.
Aen. 7. 616 ad not nts tenuit /amae jHrla&irur aura. The
use, variously developed in these three passages, ma; have alio
arisen in part from the ' breath ' of human speech being com-
pared to the breath of the wind or air (cf. anima). The con-
fusion between aura 'shining' and aura 'breathing,' for which
see Prof. Nettleship, Joora. Philol. vii. p. 171, is not in point

ie.

t, strictly it is the redire which is not per-
can translate 'return by a forbidden way.'

ISTBODUCTION.

In this poem Propertins apologises for being late in keeping
an appointment with Cynthia. Hie excuse is the opening ot
the temple of Apollo Palatums or Actius, built by Augustas to
commemorate the battle of Actium, and dedicated in b. c. 28.
(Jompare the introduction to v. 6.

PropertiuB gives a description of it, one more minute than
we find elsewhere. He begins with the outside and the cloisters
which surrounded it, as the portiau Octauiat surrounded tbo
temples ot Jupiter, Juno, 4c. In one of these portieiu (txji-
plvx cyir pqhticibvs Monum. Ancyr.) was the famous Palatine
Library with its collections of ancient and contemporary works,
and also a colossal bronze statue of Apollo by a Tuscan artist,
which is said to have represented the Emperor himself. The
Senate was sometimes convened here, Tac. Ann. 2. 37. The
pillars in the open cloisters were of gialio antico marble, and
adorned with statues of the Donalds and their cousins. The
temple itself was of marble from Luna (now Carrara), with
ivorv FuiiilotnmH dnorn. and it contained within statues of
Latomi anil Piaus and the famous Apollo Citharoedus, s
maiblr statue K SiAipal; also a group of four oxen by ths
band of Myron. There were bet-ides other valuable works of
art there. See Mr hum's Borne and the Campagna, p. ITS,
and the passages quoted by him.

NOTES. III. xxix. 143

1, 2. 'You ask why I come so late to you. The golden
portico of Phoebus has been opened by great Caesar.'

1. ueniam. Observe the tense. It conveys the impression
that the poem was written immediately after the temple was
opened. tibi, the dative of personal reference passing into
that of motion towards. Cf . in. 5. 34. aurea. In default of
precise information about the porticos, we cannot tell whether
this is to be taken literally, or whether it merely means 'magni-
ficent' as Lewis and Short take it. Compare v. 1. 4 haec aurea
templa. Chryselephantine decoration was not uncommon on
the doors and panelled ceilings of temples ; cf. v. 2. 5,

2. porttcus, really more than one. See introd. magno,
compare u. 7. 5. aperta, our Eng. 'opened.' So aperire
ludum 'open a school ' Cic. Fam. 9. 18. 1. Observe too that we.
can express the time more exactly in English, 'Caesar has
been opening, 9

3 — end. ' So grand was it, laid out with Punic columns,
a goodly show, and between them stood the women band of
the old king Danaus. Then in the midst rose the temple of
bright marble, dearer to Phoebus yea than Ortygia his birth-
place. And over the pediment were two chariots of the Sun,
and its folding doors were a glorious work of Libyan tusks.
On one were the Gauls hurled down from Parnassus' height,
another told the sad story of the dead children of Tantalus'
daughter. Next, between his mother and his sister, the Pythian
God himself in long robe chaunts a song. Truly more beau-
teous than Phoebus' self did he seem to me with marble lips
parted for a song and all but speaking lyre. Then round the
altar were set the cattle of Myron, four oxen of cunning work,
a life-like group.'

3. in speciem, 'for show,' 'to make a fair show.' Cf. Manil.
5. 152 neque in usum tegmina plantis sed speciem. So in
Caes. £. G. 7. 23. 5 in speciem is opposed to ad utilitatem.
?0Qnis=peregrini8 Ov.; i.e. African, Numidian, a brown red-
veined marble, now called giallo antico. cUgesta, 'laid out,
arranged,' frequently used of planting, as in Yirg. G. 2. 54
uacuos si sit dig est a per agros.

4. femina, for feminea or feminarum^ a curious use. It is
to be carefully distinguished from oases where words like senex,
anus, yipwp &c. are applied by metaphor to things or animals,
e. g. senex autumnus, anus charta, ytpw X^c/So*. If we compare
arm charta &a=uetula charta, arm* turba v?onl&=uetularum
turba, I do not know any parallel. The Greek drjKvs is both

H4 NOTES. III. xxix,

femina and feminea. tuba, the children. So in v. 1L 76:
c£ ib. v. 98. The use is a vivid one. We naturally think of
the children all playing together, or 'trooping' in as we say.
Ovid Am. 2. 2. 4 has Danai agmen. Danal tenia. The
Danaids stood between the columns on one side, and opposite
to them their cousins, the sons of Aegyptus. Compare the de-
scription in Ovid Tr. 3. 1. 61 signa peregrinis ubi sunt alt em a.
eolumnis Belides, et stricto statferus eme pater.

6. I have adopted Hertzberg's order, which is the only
natural one. The outside portico is first described, then the
exterior of the temple and its doors, and then the interior, the
statue and the altar. Of. note on v. 13. claro. For this

use cf. Plaut. Most. 3. 1. 108, where a speaker wants a house
speculo clariores, clarorem memm, Ov. M. 2. 24 elarit
smaragdis. surgebat. Cf. i. 20. 37 n.

6. Ortygla, the earlier name of Delos. See Odyss. 5.
128, 15. 404 with the Scholiast's explanation, • Callimaehas
Anth. Gr. 6. 121, Strabo 10. 486.

7. et duo erant (Hertzb.) explains the ms. reading et quo—
erat better than in quo erat. supra fastlgla, i. e. on the
acroteria, which were pedestals for statues above the pediment
(see Rioh s. v.). Cf. Ov. F. 5. 560 (quoted by P.) prospieit
Armipotens operis fastigia summi et probat inuictos gumma
tenere deos. eurrufl, probably those of the rising and setting
San.

8. ualuae. These representations on doors are as old as
Simonides. See Anth. Gr. 9. 758. dentis, 'ivory tusks':
first apparently in Cat. 64. 48. The elephant seems to have
perplexed the anoient naturalists. His tusks are called detUet
and cornua, and his trunk proboscis (sometimes in the form
promuscis, as if a fly-flapper) and manus (x € *f>)« The whole
phrase is quoted by Mart. 14. 3 essemus Libyei nobile
dentis opus*

9. altera. Some verb, meaning 'gave a thrilling repre-
sentation of, 1 or something similar, has to be supplied from
waerebat; for Fropertius can hardly have sympathised with
the discomfited Gauls. Galloa. In 279 b.c. the Gauls under
Brennus forced their way into Greece as far as Delphi, which
they attempted to sack, but were repulsed with great slaughter
by the Delphians. According to the historians the God himself
interposed to protect it by sending a heavy storm of lightning
and rain upon the assailants. Ct Callim. DeL 172.

KOTES. HI. wax. 145

10. maerebat, 'set forth in mournful imagery'; see i. 9.
10 n. funera, P. ' dead children '; but it has more of the
verbal meaning, 'the deaths in her family.' Cf. for the gen.
v. 1. 97 (which he quotes) fatales pueri, duo funera matris
auarae. Hence Seneo. Ag. 392 tu Tantalidos funera
matris uictrix numeras.

11. denude, -when yon enter the temple. Inter * * in-
teftfne. The repetition of the preposition is not strictly logical,
bat lends a certain emphasis, forcing us to think of both Latona
and Diana separately ; in Ok. Parad. 1. 14, Hor. Bat. 1. 7. 11, Ac.
it is used of moral difference. The reverse is the case m the
use of /rcra£u, as in /*era£d yfjt, 'between heaven and earth.'
Cf. Ar. Ach. 433. dens Ipse, the well-known Apollo Citharoe-
dm.- The complete coincidence of the descriptions in this
couplet and the following makes it certain that the same statue
is intended in both, and nearly as certain that the two couplets
should come together.

12. lenga ueste, the jpalla of the citharoedus. So Virg.
Aen. 6. 645 (of Orpheus singing) long a cum ueste sacerdos.
canalna. aona^, an extension of the cognate aoc. Cf. Hor.
Epod. 9. 5 xouan&e mixtum tibiis carmen lyra.

13. hlc, the statue. See in. 23. 12 n. equidem,
usually but not exclusively found with the first personal pro-
noun, perhaps through an erroneous idea that it was connected
with ego. mini. Compare Introduction, and rv. 9. 10.
ipso, the original.

14. marmoreu8, 'represented in marble.' For the adj. of.
Antti. L. 4. 62 ni me uidisset Cypria marmoream. tadta
we expect it to sound, but it is silent, re/wwf xarv ciy$.
carmen hlare, to open the lips as in singing, to open the
mouth for a song. So Pecs. 5. 8 fabula ten maesto ponatur
hi an da tragoedo, i.e. to be uttered through the rictus of his
mask. The phrase is from Gallimachus H. ApolL 24 udpuapov
vri ?wcu«os oifvpov n %avovciit (of Niobe).

15. steterant, hrrtww. Cf. v. 3 erat digesta. ar-
menta, probably neut. pi., not fern. ring, (as in Pacuvius).

16. TirUtnrn, passive. Of. Pers. 5. 40 artifiaemque
too Meit sub pollute ssultum. ululda, ' lifelike. ' So in Mart.
7. 44. 2 cuius adkuc vuttum uiuidu cera tenet.

10

H6 . NOTES. IV. i.

IV. i.

Intboduction.

In plain language this poem is a definition by Propertta
of his poetic position. The poet asserts his originality (in the
limited sense in which Boman writers understood the word), be
declares his subjects and his models, and comforts himself
against present detraction by the assurance of a future im-
mortality. We have no other clue to the date than the allusion
in y. 38 which seems to shew it was written after the opening
of the temple of Apollo and the Palatine library in b.c. 28.

Argument.

Shades of Callimachus and Philetas, my masters, give me a
share in your poetic inspiration. I am the first son of Italy
that follows in your steps (1 — 6). I am no singer of arms.
It is a more peaceful and polished theme that secures me I
triumphant immortality and a superiority over all my rivals
(7 — 20). The crowd may be envious now: but posterity will
do me ample justice (21 — 24). The poet is immortal and his
immortality in his gift. Hence Troy and Homer will live for
ever (25 — 84). I too shall live after my death; my names
preserved from oblivion through the favour of Lycia's god
(35— 38). Meanwhile I will employ my song on its accustomed
task, the pleasing of my love (39, 40).

1. sacra, 'sacred reliques.' It cannot mean, as Hertzfc
and P. take it, 'Philetas admit me to your sacred rites.'
sacra, which means any ' sacred things,' i.e.. a victim, sacrifice,
the Penates, <fcc., is here applied to the disembodied spirit,
which was propitiated with offerings. The use is the le*
surprising as a . poet is sacer even in his lifetime. Gf. SW-
Silv. 2. 7. 116 (of Lucan) magna sacer et superbus umbra,
CalllmaoTil, Philetae: see the Introduction.

2. nemus, the grove whence you drew your inspiration and
which is now haunted by your presence. Propertms ifl thinking
of the groves affected by poets. Hot. Ep. 2. 2. 77 tcrijton*
chorus omnis amat nemus t of which the prototype was the gro*
of the Muses on Mount Helicon: and also of the Ivaatottr
which was sometimes planted round the resting-place of the

NOTES. IV, i. H7

honoured dead; cf. Mart. 6. 76 famulum uictrix possidet umbra
nemus.

3. primus, not necessarily an assertion of himself against
Tibullus who follows the Greek form much less closely. In
the same connexion Virgil has G. 3. 11 primus ego in patri-
am...Aonio rediens deducam uertice Mm as. ingredior with
inf. as Cic, Yirg. Manil. Astron. 1. 3 sqq. seems to Have Prop.
before him caelestis rationis opus deducere mundo adgredior
primusque nouis Helicona mouere cantibus et uiridi nutantes
uertice siluas, hospita sacra ferens (^sacerdos), nulli memorata
priorum. puro de fonte sacerdos go closely together,
'with priestly ministry from an unsullied spring.' I am a
Musarum sacerdos, Hor. Od. 3. 1. 3, and sprinkle their votaries
with song. For puro de fonte compare Callim. H. Apoll. 110
(of himself) Aijoi 5 1 ovk dir6 iravrbi vdup </>op4ov<n fiiXuraai
d\V iJTis Kadap-q re koX axp^avros dytpwet. tLSclkos O-
'"pijs,

4. 'To lead the mystic emblems of Italy through the
dances of Greece,' i.e. to treat Latin subjects after the Greek
manner ; of. Hor. Ep. 1. 3. 12 fidibusne Latinis Thebanos aptare
modos t, Yirg. G. 2. 176. per cannot govern orgia nor is it
the same as inter (P.). For orgia in this sense cf. Catull. 64.
260 (Ellis) and Aien. 6. 517 ilia c hor urn simulant euantes
orgia circum ducebat Phrygias. Compare also Yirg. G. 2. 475
Musae quarum sacra fero,

5. parlter, ' side by side.' Propertius couples the poets as
in in. 32 (26). 31, 32. Perhaps he had Theocritus in view
Epigr. 5 (of Pan and Priapus) forpov ftrw vrdxovres bpAppodoi.
carmen tenuastis, 'spun your slender song'; the Aexral ^<nes
of Callim. Epigr. 29. 3; compare the imitation by Stat. Silv.
4. 7.^ 9, and Hor. Ep. 2. 1. 225 tenui deducta poemata filo.
Elegiac poetry is slight compared with epic subjects; Hor.
conamur tenues grandia. antro, iv. 3. 27 n. ' *

6. quo, vol(p ; pede, ' gait,' movement of the feet ; cf. i. 9.
24 n. With an allusion to the sense of metre, rhythm. For this
confusion* (or rather non-differentiation) of the physical . and
metaphorical see Introduction. So Ovid assigns his personi-
fied Elegia one foot longer than the other Am. 3. 1. 8 uenit
odoratos Elegeia neza capillos et, puto, pes illi longior alter
erat. aquam, cf. rv. 3. 5, 6.

7. ualeat, 'out on him,' xcu^rw : cf. Tib. 2. 3. 70 o! ualeant
fruges, Prop. in. 4. 13 ualeto. Phoebum moratur in armis,
takes up poetical leisure with singing of war.

10—2

148 tf&ZE& -IV. i.

*8. efcftctus tenul pumice, « with the polish of fine pcumec'

tenui ' fine ' for refining (tenuanti), properly of the result, not
the agent. Cf. Mart. 3. 89 mollet maluae 'relaxing' mallows.
Hor. Ep. 1. 19. 18 exsangue cuminum 'pallor-causing' cummin.
Pumice stone was used by bookbinders to smooth down the
rough projecting edges of the parchment, Becker Gall. p. 329.
eat, not ' in allusion to publication * P., but as in Hor. S. 1. 10.
58 uer8iculos — euntes molliiut. In eat the poet goes off into
a different metaphor, that of the chariot flying through the air.

9. Fame soars with the poet in the winged car of his vera.
Of. Hor. Od. 2. 2. 7 ilium aget penna metuente solui Farha super-
stes. Anth. Gr. 9. 207 (of the elevating influence of philoso-
phy) 6<ppa K€v el<Ta<pLKT)cu is dvpavlovs Keveuvas \^vxv p v^iti-
\evdov i\'a<f>pL{wv aro yalys. The indie, leuat shews the
picture is being realized. Propertius however is not careful
about the distinction of ind. and subj., see Introduction
a me nata, ' child of my brain.' One of the txyova voirrruf of
whom Plato speaks, Symp. 209 d. Compare Ov. Ti\ 3. 14. 13
quoted on v. 11. 76.

10. coronatis, the metaphor ohanges to a triumphal pro-
cession. JFor the garlanded steeds of. Ov. Tr. 4. 2. 22,

11. CUrTU. Cf. Pindar OL 9. 81 drayeurOai rpoV^yot b
bloiadv %l<t>p<$* t6\/xcl Se kuX d/j,(pi\a<p}js Svvapts icvoiro.
uectantur Amores. When a father triumphed, his sons rode
with him in the triumphal oar; Ldvy 46. 40.

12. scriptorum, his imitators. Cf. v. 1. 136 ecribol «/
exemplo cetera turba tuo. secuta, supply neciatur from
uectantur. The procession becomes a race to the Muses'
temple, turba secuta Ov. Am. 1. 2. 36.

13. missis, usually immissis : but cf . Petronius *& $ nw
et Socratico plenus grege mi ft at habenas, and misso equofa
admisso tv. 10 (11). 62. In me, with Missis, 'to catch me up-'
certatis, apostrophising the turba.

14. I.e. every one oannot be a Propertius. currsn .*
Greek inf. : currentibus or currendi would be more usual Latia.
See Boby Lat. Gr. 1360 which however is not all in point

15. tuas, thy own peculiar merits. 'It is clear tW
tuas laudes i.e. bellica* tdrtutes is opposed to pace (r.l'<
and muUi to intacta uia. 1 P., rightly. annaHbui tj*rt
like Ennius.

ffQTES. IT. i* U%

10, finem, i, e. ft will qbIj be, bounded by- Bact*% it> will
reach a* fa* us Bactra. Ba*tr*,. the goal of Boman aspi-

rationa «a t&e East : A^en. 8. 6Q8 ultima secum Bactrck uehit*

17. soroTum, here, of course, the, ^fuses. Cf. in. 28 (22).

27.

18. dotattt pagma, a bold metaphor, which would be
harsh even in modern poetry; but see iv. 25. 17 n. Intacta
uta only means 'from an unhackneyed original/' It is very
characteristic of the artificial and exotic, character of Latin
literature that the favourite epithet of a poet is a well-read man
{docHu). For the- metaphor cf. Virg. G. 3. 293 iuuat ire iugis
qua nulla, priorum Castaliam molli deuertitur orbita cliuo. So
Caltfm. Enigr. 8. 1 KaOap^v 656v. Dionys. HaMo. n. p. 129.
49 shews it in prpse weipdaouai \iyeip...oM£ /cow A ©tfW kcl9^-
fia^evitiPa rQv %pl>Tspw K feapkneyed (quoted by. Herts*.). \

19. mollla, those of elegiac poetry, durus of epic or tragic
and mollis of elegiac poetry are m continual antithesis;
cf, ux, 32 (2d). 42* 44. Pegasldes, a learned allusion
in the manner of Latin poetry.. The Muses are associated
with Hippocrene, the spring which rose from a kick of Belle-
iophQn*B steed Pegasus.

20.. faetet oajritf, *-swt>my tead^ ¥ng* *<fc> for': usually
faere a4i bat cf, ?lin. K. P. 32. 1% %2. 48 rad^ coronopi
coeliaci* praeclcure, faqit, 4wt. <?& hirsuta corona v.

1. 61, of Enniua,

21. at marks a transition of thought. * Let detraction do
its. worst now: I shall outlive it. 1

22. duplici* i. e. doable what would have naturally accrued ;
i. 7. 26 ntagno faenore* honos. It i» instructive to see
hqw Oyid softens this away Am. 1. 15. 39, 40 pascitur in. WMis
Liuor: post fata quiescit, cum *uu» ex merita quemque
tu.et.ur hone*.

23. omnia, ef. Introduction, finglt malora, *makee
greater than before,* * magnifies*; without any idea of unreality
(such as we have in Hot. Ep. 1. 9. Sfinxisse minora). Com-
pare Hor. Od. 4. 3. l%{illujn) spissae nemorum comae fin,gent
Aeolio carmine nobilem. uetustas, a progpective-retrospee-
tive ug$ t « an age to come, when the present shall be a distant
Past.' ^rst in Virg. Aon. 10. 792 si qua Jbdem tantosi open
laturck ifietu&tae; of. Qv. Tr. 5. 9. 8 9cripta uetusi,atem si modo
mtrafefent, i.e. 'if my writings shall live,'

150 NOTES. IV. i.

24. ftb dxequlis, ( after the last rites. 1 Gf. Ov. Tr. 4. 10.
122 tu mihij quod rarumst, uiuo sublime dedisti nomen, 06
exequiis quod dare jama solet. mains uenlt, Ov. P. 4.
16. 3 famaque post cineres maior uenit. in on,
i e. ' on men's tongues,* cf. rv. 9. 32.

25. nam, ' for example/ eVef, indicates a suppressed train of
thought. The poet's work lives and grows after him (this
is the text of w. 33 — 36). Poetry is immortal and immor-
talises its subjects. But for Homer, what would Troy be
now? pulias. The use of this word shews that Propertras
here regards the horse as a kind of battering-ram. Compare
Pausanias 1. 23. 8 (referred to by P.) 'That the handiwork
of Epeus was a device for dismantling the walls (els SiaKvciv tov
rclxovs), everyone recognizes who does not impute absolute
idiocy to the Trojans/ ablegno, of fir wood; so Prop,
here and v. 1. 42, agreeing with Virgil Aen. 2. 16. nosceret,
' come to know.'

26. Haemonlo ulro. Cf. in. 5. 22 Phthii uiri, * the man
of Phthia,' her most illustrious son. commlnus lsse ulro,
Sil. It. 5. 560 saeuo comminus ire uiro.

27. Idaeum, 'rising in Mount Ida.' lords com prole
Scamandro. The certain conjecture of G. Wolff adopted by
Haupt. flumina shews two rivers must be mentioned. Homer
II. 21. 307, to which Propertius is referring, expressly says the
Scamander summoned the Simois to his aid against Achilles,
and louts cum prole agrees with Horn. H. 21. 2 ZtwOw
StpyevTos tv dddvaros rc^ero Zeus. It is true that Ida and other
places in Troy are confused with their namesakes in Crete and
in consequence Zeus is said to have been born in Troy; cf.
Schol. Apoll. Bhod. 3. 1323 seqq. dmiroioOprcu yap xal ol Tpwcj
rrjs rov Aids yevtcrews Kaddvep <f>t^n Aijurp-pios 6 litcifioi and
other passages. But this only goes a short way towards justify-
ing the ms. reading louis cunabula.

28. ter, a certain conjecture for mss. per. The canons of
interpretation will not allow of tractum being supplied, as
P. supposes* For the Propertian repetition ter — ter see Intro-
duction.

29. Pulydamantas. Polydamas represents the public opinion
of Troy, H. 2. 100, and thus acquires a proverbial reputation ;
cf. Pers. 1. 4. He is coupled with Deiphobus by Ovid Her.
5. 92, Met. 12. 547. As a warrior we do not hear of him in the
Iliad; but in armis is supported by Sil. Ital. 12. 212 Pulyda-
manteU iuuenis Pedianus in armis bella agitabat atrox.

NOTES. IV. i. 151

The plural is indefinite, as HoXvdafuwTes Ael. N. A. 8. 5 * such
heroes as P.* [I think however it very probable that Pulyda-
mantos is to be read, ' Paris who out a sorry figure in the arms of
Polydamas.' This gives a more forcible construction and besides
is supported by the phrase of Silius Italicus. Paris actually
did fight against Menelaus in some one else's armour (H. 3.
333), his brother Lyoaon's, and it is very possible that Proper-
tius has forgotten the exact circumstances.]

30. qualemcumque, owoiovdfaore, Boby, Lat. Or. 2289.
nix sua nosset humus, appropriated by Ovid. Tr. 5. 5. 54
forsitan Euadnen uix sua nosset humus, humus in the sense
of * land ' (as we use * soil, ground ') is rare, except in Ovid.

31. exigno sermone, a bold extension of the abl of descrip-
tion (Boby 1232), sermone, the external fact, being put for the
quality fama. Madvig, Lat. Or. 272 obs. 3, observes it is some-
times used where in would be commoner ; cf. erat in sermone 4
omnium Cic. Phil. 10. 7. 14. Hion and Trola are here j
clearly different. Cf. Aen 3. 3 ceciditque superbum Ilium, *
et omnia humo fumat Neptunia Troia. Compare also Eur.

Hec. 922 'IXtdfa Tpolav. What the difference is, is not so clear.
Servius on Yirg. I. c. says Troy is the country, Ilium the town.
But in the Iliad and elsewhere Uium is used for the country ;
and it is not easy to find instances to the contrary. The
misapprehension of a double name, like 'AXtfavSpos, 116 pis, may
have originated the distinction whatever it is. In the present ,
passage Propertius may be distinguishing between the old
mythical Troia (or old Ilium) and new Ilium.

32. Oetaei del, Hercules. Propertius' imagination seems
to have been caught by his passage from the flames of his
funeral pile on Mount Oeta into the celestial life. Cf. i.
13. 24. numine, 'by the divine power of,' an exact ex-
pression. Troy was first taken by Hercules himself from
liaomedon and then by his follower Philoctetes with his arrows.

33. nee non, i. e. as Well as his heroes. For the connexion
of thought see v. 25 n. casus, 'fall'; Aen. 1. 623 casus
mihi cognitus urbis Troianae. memorator, see Introduc-
tion.

34. posterltate, a curious abl. apparently of the means,
'through posthumous lapse of time,' opposed to uetustate.
Compare Tao. Ann. 3. 19 gliscit utrumque (L e. truth and false-
hood) posteritate, and for the general sense Hor. 0. 3, 30.
7, 8 usque ego poster a creseam laude recens. crescere,
apparently a word of the Augustan coterie of poets, Cf. Hor.

»

152 JTOZXSL IV, t

I. e. , Vkg. EcL 7. 25 cr4$cenUm ormU ptetom*. stBsJt- For
though dead* he* ia ahm

35. seroa nepotfes* ty47&tv$* Cf. Vtrg. G, 2. 59 #<ru
faetura nepotibus utnbram. later, a striking example of
Propertins r 'disjunctiveness/ fbr the seri nepotes=ltoma. Vie
may compare Tao. H. 1. 1 ita tieutris cura posteritatit inter
infen.808 uel obnoxios.

36* ilium ditto, not 'Ulan uitam,' P., hut the day when
this wiU happen ; an ille of unspecified reference. CL m. 5.
39 n. poet cineres, imitated by Ov. 1. a on v. 24. It goes
with the- sense of the whole clause rather than with any par-
ticular expression.

37. contempto sepulcra, 'on an unregarded grave, * an
idea repulsive to so sensitive a nature. Cf. in. 5. 25 t 2. 5.

38. lyoto deo, the Palatine Apollo-

39. This line begins a fresh poem in the mss. (So Palmer.)
Interea, as in nr. 5. 25. ort>em, 'the round/ a metaphor
from the circus ring. Cf. Hox, A. P. 132 and el. 3. 21 n.

40. tacta, impressed. soltto tone. Ptopcvtioa fre-
quently read hi* poems to his mistress ; cf. eel 4- 11 — 14.

IV. iii.

Intboductioh,

Ik this poem. Properties indicates that^ having tried the
grand style of historical poetry without success, he wiU hiarn
forth abandon it and devote himself to the amatory class. His
fervent Roman patriotism, his archfeologioal tastes, and the
influence of Enninsv Virgil and other writers natrnwrily at-
tracted him to the history of Borne. But he soon found it
incompatible with his genius. This incompatibility he indi-
cates in the form of a vision, or, as we should rather say, an
allegory, telling how Apollo and Calliope' forbade him to pro-
secute these 'severe studies,' and shewed him that his place in
the temple of Fame was already secure. There ia no special
allusion to determine the date.

1, uistts tram, « methought I lay,' no* as P., who ia misled
by jkhm v. 4 (where see note), 'I had fancied myself able.' It
seems to me idle to draw distinctions between allegories, visions

NOTES. IY, iii 153

and dreams in the present passage. All thai Prop, hints is
that he is drawing an ideal picture* moili, 'grateful,, sooth*
ing': with soft grass and shelter from the bee*. Cf. Viig* G.
3. 404 »oU* succedere saepiug umbrae

t. umor, 'water.' Gf. in. 21. 4 n. ESppocrene is meant.

4. taatnm opexla, for the phrase Plant Men. 2. 8. 85
tan turn incepi operis, Livy Praef. 13 orat's tan turn operis,
Prop. it. 10 (11). 70 tantum operis belli sustulit una dies,
and for the construction, the aco. in apposition to the sentence,
Ov.M. 5. 112, sed qui, pads opus, citharam cum uocemoueret.
Msceze, ( lisp,' of incoherent utterance : humtia loqui Cie. Or.
9. 32. The construction of reyes and. facta is hold hut is
softened down by the intervention of the semi-cognate ace*
tantum operis; cl Or. M. 13. 231 nee Tetamoniades etiam
nunc Uiscere quicquam ausiU posscu Propertius ia f ond
of the potential. See Introduction.

5. parua ora, opposed to magnum os, ut+ 1. 12 n. Ci Ov.
Tr. 1* 6. 30 nostraque sunt mtritis ora minora tuis. tan,
'to that great spring. 7 For tarn see Introduction. P.*s iam
is quite unnecessary. Persius travesties this poetical drinking,
ProL 1 nee f ante labra prolui caballino,

6. pater Ennius, a stock address of respect, as we say
% Dan Chaucer'; ci* Box. En, 1. 19. 7. ante, 'formerly.'
i. 8. 36 n,

7. Ourlos ftatres, is. the CuriaHi, an extraordinary cur-
tailment. See Introduction. Horatla, would be in prose
Horatiana; butcf. ManiL 6. 107 Horatia facta. pila. Mr
Burn, Borne and Campagna, p. 104, writes, ( A pillar at the
corner of one of the arcades (i e. in the. Forum) containing
shops was called the pila Horatia. * * * Upon it, according
toDionysins, had been fixed the armour taken hy the surviving
Horatius from the vanquished Guxiatii. The word pila may
either mean the column of the arcade upon which the armour
was fixed or the weapons themselves, and the Latin writers
seem to understand it as referring to the latter, while Xtionysius
translates it by orvkts. 9 Pila (/. )was confused with pila (n.).
Hertzberg may be right in thinking Propertius intends in pila
[the Koman weapon) to hint that it was the Horatii who were
Romans. Compare Livy 1. 24. 1.

8. The allusion is to the defeat of Demetrius of Pharos by
L. A.emilius Paulina 219 B.C., not that of Perseus by his son,
surnamed Macedonian f 167: for Ennius died in 169.

154 NOTES. IV. UL

9. ulctrices moras. Manil. 1. 786 inuicttuque mora
Fabius, Ennius' own line unus homo nobis cunctando restituit
rem is well known. pugnam Blnlstram Cannensem. The
student should observe that two adjectives can be pat with one
8ubst. when they refer to different aspects of it, when, as here,
one specifies (Cannensem) and the other describes (siniitram).
For Propertius' fondness for such accumulations see Intro-
duction.

10. uersos, cf. in. 24 (20). 32. uersos ad uota is op-
posed to auersos.

11. This is not mentioned in Livy. But Varro in his
Heracles introduces one of the Lares saying, Noctu Hannib&Us
cum fugaui exercitum Tutanus, hoc Tutanus Romae nuncupor.
Romana sede. Cf. Livy 5. 50. 4 quod Iuppiter O. M. suam
sedem atque arcem populi Romani in re trepida tutatus esset.
Cat. 80. 3 has a sede Pisauri.

12. fulsse. For the change of construction cf. m. 23. 7 n.
Iouem. His temple is meant This confusion of the divine
personality with its outward material signs, such as statues,
temples, is thoroughly Boman, but not confined to Rome. A
good example is v. 1. 7 Tarpeiusque pater nuda de rupe tonabat.

13. dastalia, on Parnassus in Phocis, while Helicon (v. 1)
is in Boeotia. The topography of the Latin poets is always
more or less fanciful, and the haunts of the Muses are no
exception. Thus Statins Silv. 2. 7. 2 puts Hippocrene on the
Acrocorinthus. 0)601118018, 'watching me,' xoratrydfur.
arbore, ' the wood/ a collective sing, for the plur. ; see m.
5. 3n.

14. Phoebus gives a similar warning to Horace, Od. 4.
15. 1 Phoebus uolenti proelia me loqui uictas et urbes increpuit
lyra, ne parua Tyrrhenum per aequor uela darem. lyra
nlxus. Apollo is frequently thus represented in art. ad
antra. The order implies he was close to the grotto.

15. flumlne, ie. the fontes of v. 5, the flow of epic poetry.

16. carminis nerol opus, ' a work consisting in ' ; a genitive
of equivalence or definition, Boby 1302. tangere, of un-
lawful handling. Cf. in. 82 (26). 10.

18. mollia. 'Over soft meadowfi should the small wheel roll.'
Elegiac (iv. 1. 19 n.) poetry is your field. prata. Aristoph.
Ban. 1300 says (or quotes) more appropriately Ira fiij row avro»
^pwixv Xtt/twra Mo vera* lepbr 6<pdclt)v dp4rurw. But comp.

NOTES. IV. iii 155

Virg. 1. c. on it. 1* 18, Manil. 2. 50, 53 omnu ad accessus
Heliconis semita tritast. — Integra quaeramus rorantes prat a
per herbas.

19. lactetur. Comp. an epigr. of Strato (addressing his
book) xoAXa/a Qoirr/ffcts vwoicbXinov ij xapa 5t<ppois pXrjOty.
The book was picked up and thrown down on to the scamnum
or footstool, the inseparable attendant both of the sella and the
lectus (Rich, Diet. s. v.).

20. uirum, 'lover. 1 See in. 5. 36 n.

21. seuecta, 'deviate, swerve aside'; only here. For the
abL cf. V. Aen. 4. 385 et cum frigida mora anima seduxerit
artti8. Hence P., following Scaliger, reads praescriptos euectast
gyros, a slight but needless change. pagina seuectast. Cf.
iv. 1. 18 n. gyro, lit. the ring or circus in which horses
were trained. Here, like orbem EL 1. 39, of a narrow field in
literature. Cf. Stat. Silv. 4. 7. 4 ingens opus in minores eon-
trahe gyros. Gic. De Or. 3. 19. 70 ex ingenti quodam oratorem
immensoque campo in exiguum sane gyrum compellitis.

22. Dante apparently translates our author Purg. l 1 — 8
* O'er better waves to speed her rapid course The light bark of
my genius lifts the sail, Well pleased to leave so cruel sea be-
hind.' Cary. The It* has la navicella del mio ingegno.

23. As is frequent in Lat M the emphasis is on the last
word harenas. The cumba was a two-oared boat (Rich, s. v.).

24. tutus eris, so. by doing so. Cf. Ov. E. A. 650 lente
desine: tutus eris. turba, 'ferment, uproar.' Bare in
this literal sense; but cf. Lucan 3. 593 pelago turbante and
mare turbidum, turbulentum ; Att. ap. Non. 524. 26 (Fr.
608 Ribbeck) is instructive, non uides quam turbam quosue
fluctus concites t Seneca (?) Ag. 103 paraphrases Prop.,/sZu?
mediae quisquis turbae sorte quietus aura stringit litora tuta,
timidusque mari credere cymbam remo terras propiore legit.

25. sedem, 'a resting-place, retreat,' a very vague word.

26. semita facta est, as in. Plant. Cure. 1. 1. 36 dum ne
per fundum saeptum fades semi tarn. noua asserts by
implication the poet's originality, like intacta uia el. 1. 18.

27. adflxis. The poet is describing one of the operosa
antra (2. 12) or artificial grottoes of the Muses, which were com-
mon in the grounds of wealthy Romans. These musea are
described in Plin. N. H. 36. 21. 42. 154 appellantur quidem ita
(i.e. pumices) et erosa saxa in aedificiis quae Musea uocant

156 NOTES. IY. iiL

dependentia ad imagintm tpecus arte reddsndatru
The stones have heen there long enough foe the moss to grow
over them (uiridis). spelunca. Observe that this is theGx-
aco. <xirr}\vyya.

28. pendebant, from the projections ol the redC Qf. Plin.
L c. tympana, 'the Bacchic instrument,' P. caula*
erosis; not 'vaulted,' as P. seems to. suggest, pwmx is used
of any porous stone, as P. points out.

29. ergo, the ms. reading, is corrupt It cannot be ex-
plained either (1) as an ergo of resumption after a digression, as
m Aen. 6. 384, or (2) as a loose inference from what precedes,
as in Virg. G. 1. 489, Eleg. in oh. Maecen. 114 redditur ar-
boribus jlorens reuirentibus aetas: ergo non homini, quod fuit
ante, redit. orgla, L. Midler's reading, is probable (cf. el.
1. 4): and mystarum, not mustarum, as he spells it, is possible.

SI. domlnae. Of. n. 5. 17* mea twrba, 'my iavoiu--

fteft.' The phrase is imitated hj Qt. Am, 1. X. 6, JL. iu 3. 8X1.
Tr. 1. 5. 34.

32, Gorgoxteo, Hippoorene, Pegasus having sprung from
the blood of Medusa; a far-fetched ajUtasion. pakkja xxwtoa,
taken by Ovid, Am* 2. 6. 22. Fwiew, like <frtrt$ k is ori g inally
a proper name ; but el Bo*. EpcdL 9* 27.

83. dtaena*, i.e. in <toffejren* parts ef the grotto ; cf.
Vfag*G» 4. 432 siermM $e somm diuenae in liter* phocae.
lura. I have restored this after Scaliger for the nnmeanjng
rura of the mss, Xhe different provinces of the Muses are
meant.

84. in so* 4ona, *oa the production of their special gifts.'
So Virg. G. 1. 219 at $i triticeal in messem robmtaque
farra exercebi* bumum* Cf. in thyrsos v. 35,

85 gives descriptions of three Muses, of whom the second
is probably Terpsichore; but the others can hardly be identified,
as the Muses are variously represented in ancient art. ©ar-
mina neruls aptat, very close to Hor. Epist. 1. 3. 12 fidi-
busne LatinU Thebanos aptare modoa atudett

36. manu utraame, Le. busily, energetically, Cf, el. 14
(15). 24 regales manicas rupit utraque manu. rosam.

Perhaps Erato is meant. Love is crowned with roses ; compare
pseud.-Anacr. 53, 7, 15. For the collective sing. of. y. 6. 72.

88. a lade, a false etymology. KoX\toir«4 is from ty,
not <ty. See the Introduction.

FOTES. IV. iil 157

39. cygnls. This is somewhat magniloquent. As an erotic
poet, Propertius is to ride on Venus' own swans ; cf. Hoa\ Od.
4. 1. 10. Ovid follows him A. A. 3. 809 cygnis descenders
tempus duxerunt collo qui iuga nostra suo,

40. fbrtis probably goes with equi, as in Ov. E. A. 634.
A. A. 3. 595. dneet, certainly noi=uehet (Hor., Ep. 1. 1. 93
quern duci t priua friremis, has in -view the trailing motion of a
ship) : nor of dragging a chariot (Od. 4. 3. 5) whieh was not
used in Roman warfare. It mast then either be 'draw, allure
you '; or else 'go before yon/ yon shall not follow in the wake
of cavalry to war. sonus, a comprehensive word. It in-
cludes the neighing and the prancing of the horses and the
clatter of their harness.

41. nil tibl sit, 'let it be no concern of thine,' more
usually nil ad te sit, as Lucr. 3. 830 nil igitur mors est ad
no s (Monro's note) : but Prop, uses the dat. for ad with ace.
in other connexions also. See in. 29. 1 n. Compare haud
tuumst uereri Plaut. Stick 5. 4. 36, with which compare
Tib. 1. 6. 24 turn mihi non oculis sit timuisse meis and pseudo-
Tibull.4.3. 3 neu tibi sit duros acuisse inproeliadentes. Nothing
is gained by taking nil for non, as P. praeconia classica,
' martial advertisement': praeconia seems better than prae-
toria, the other reading, though flare class i cum, 'blow a
trumpet,' is an authorised expression; cf. Virg. 6. 2. 539.
classica is an adj.; compare classicum canere. rasco,
'braying 1 ; of an ass Ov. F. 1. 433.

42. flare, with an ace. as in Mart. 11. 3. S quantaque
Pieria proelia flare tuba, and, nearer still, Gell. N. A. 1. 2. 6 has
ille inanes glorias cum flare t. dngere is supported by
Ov. Tr. 5. 2. 69 ftnitimo cine t us premor undique Marte and
Stat. Ach. 1. 10 neque enim Aonium nemus aduena pulso
('invade'), tinguere (N.) would be in grossly bad taste.

43. qultous in caxnpis. The nom. to sit is changed from
the inf. to a dependent sentence. Cf. Introduction. Observe
the plur, of the two battles, Aquae Sextiae and the Campi
Raudii, Mariano slgno, for the abl. see Introduction.
The eagle is meant. Pliny N. H. 10. 4. 5. 16 says ' Gaius Marius
in his second consulship made it (the eagle) the distinctive
mark of the legions of Borne. Till then it was the principal
one, but there were four others. Wolves, minotaurs, horses
and boars preceded each company. A few years before it had
begun to be the only one carried into battle ; the rest weie left
in the camp. Marius abandoned them entirely.'

158 NOTES. IV. iii.

44. stent, 'the battle is 8et y ; cf/ Sil. It. 4. 274 medio
stetit aequore pugna. Teutonlcas Roma refrlngat opea
Cp. Hor. Od. 8. 3. 28 nee Priami domus periura pugnactt
Achiuos Hectoreis optima re/ring it.

45." quibus in campis is to be supplied with uectet, not quo,
as P. A river can be said to flow through a battle-field. The line
is generally supposed to allude to the victory of Caesar over
Ariovistus. See B. G. 1. 53 (not 4. 1 as P.). perfasus, not
very appropriate for a stream; but maerenti v. 46 shews the
. Khine is half personified as in Ov. Tr. 4. 2. 42 cornibus hie
fractis uiridi male tectus ab ulua decolor ipse sanguine Bhemu
erit. There is a similar confusion between the river and the
river-god in v. 2. 7 ; cf. Introduction.

47. coronatos, i.e. fresh from a banquet. altmrnim,
that of the uir v. 50. ad limen, like the serenader in 1. 16.

48. 'The tipsy traces of the midnight rout,' i.e. the traces
of a rout or 6camper of tipsy revellers ; such as the chaplets,
torches, &c. which they would leave behind when punned.
ebria would go more naturally with fugae ; cf. Introduction,

49. excantare=' draw out by chants, 1 whether gods from
a besieged city, the moon from the sky, or standing corn from
a field ; but here metaphorical, by the blandi carminis obseqmo
i. 8. 40. clausas puellas, Callim. Fr. 164 (Bergk) 17 reus i
KariucXciffTos.

50. ferire, 'cozen,* a cant word for cheating; Ter. Ph.
1. 1. 13. Cf. Prop. v. 5. 44.

51. talia. For omission of verb see 1. 16. 45.

52. Ovid gives the phrase a different turn Am. 3. 9. 25
adiee Maeoniden a quo ceu fonte perenni uatum Pieriis ora
rigantur aquis. Pniletaea. She moistened Propertius' lips
with water from the spring from which Philetas drank. Cf-
el. 1. 6.

IV. vii.

IXTBODUCTION.

The subject of this poem is the drowning of Paetus, a young
friend of the poet, on a trading voyage to Egypt. The poet
draws an imaginary picture of the sad event and its circum-
stances, and intersperses it with melancholy reflections on the

NOTES. IV. vii. 159

ring cf men and the power of the passion for gold which had
an the destruction of Paetus.

1. ergo. Cf. i. 8. 1 n. pecunla. Personified, as in
>r. Ep. 1. 6. 37 regina pecunia, Juv. 1. 113 etsi, funesta
:unia, templo nondum habit as, and so UXovtos in Aristoph.

2. adimus seems hardly appropriate with Iter, unless the
ase is 'we go near the path of death ' (i. e. to death ; cf. 1. 20.

n.), Eur. Or. 1044 davdrov WXas fialveiv ; cf. adire peri-
la Cic. Phaedras 3. 6. 9 has professi mortis audacem
'am where audacem refers to the sailors, as immaturum here
►es to mortis,

3. I.e. you cruelly foster the vices of mankind by sup*
ying them with an object; cf. rv. 21. 4 ipse alimenta
)i maxima praebet amor. praebes pabula. Cf. Plaut.
ad. 2. 6. 29 piscibus in alto, credo, praehibent pabulum.
udelia. Statins Theb. 9. 300 has curiously varied the
earring ibitU aequoreis crudelia pabula monstris.

4. semlna orta, a confused way of emphasizing an idea by
petition. de capita tuo, either (1) 'from you as source/
hich is not harsher than I. 18. 19 quae tu uiua me a possis
ntire fauilla ' when I am asheB ' nor than fontis caput rv.
) (19). 6 : for the metaphor see m. 18 (15). 6 non ego nequitiae
cerer esse caput, or (2) 'from yourself/ as Hertzb. who
impares Sen. Med. 1013 si quod est crimen, meumst — noxium
acta caput. Perhaps, as P. suggests, there is an allusion to
thene being born from Zeus' head.

5. tendentem lintea, 'with canvas spread,' suggests a
nooth course and a favouring wind.

6. obruls, facis ut obruatur. torque quaterque. Pro-
srtius is thinking of the storm and its savage determination
1 drown Paetus; compare Leon. Tar. Anth. Gr. 7. 662 'Hxifarcra
\aaaa, ri rw Tipapcos ovtws wXuovt 1 ov iroWj} vrjl TeXevrayopav,
rpta x el f^V" affa % KaTarpyivtaffao Trovrtp truv <p6prq> \afipdv
/* imxevafjUrrf. lnsano marl. Ov. Her. 1. 6 obrutus
wanis esset adulter aquis.

7. nam, explaining obruis. sequitur, 'in pursuit of

ee.' exddit, 'made shipwreck of his youthful life.' Cf.

jr. Andr. 2. 5. 12 uxore excidit, 'lost his wife. 1 Ov. M. 2.

8 magnis tamen excidet ausis. Others take it 'he was lost

his youth.'

160 ITQTjBS. IV. vii.

8. noma, i.e. an unexpected banquet; not, as P. titer
Hertzb., a mere repetition of longmquis. longlnqtis,
i.e. far from home ; xl 9. 29 longinquos ad Indos. The phrase
is imitat 1 by Ov. Ibis 148 nostraque long in quits uiseera
pise is edat, Claud. Eutr. 2. 334 longinquit piscibm.
esca. Ov. Tr. L 2. 66 et non aequoreis piscibus esse eibum.
Leonidas Anth. Gr. 7. 273 (of a similar fate) rbynp £w€vf*ros t
ixQvvt icvpfia, cKxVMM" natat, of floating corpses and wrecks,
v. 1. 116.

9. iuflta, subst. Ov. F. 6. 491 maesta Learcheas mater
tumulauerat umbras tt dederat miseris omnia iusta rogis.
plae terrae, her son's dead body. For terra* compare in. 5. i
26 n. pientissimvb in an inscr. OrelL C. I. 1. no. 4601 of!
an infant two years old shews pius was a regular epitbef,
though we have no reason for supposing that Paetus was not
an affectionate son. Hertzb. takes the phrase as genitive after |
iusta. 'The parental embrace of the earth' (P.) is not in
point.

10. pote, as adj., est being omitted. Cf. n. 1. 46. cog-
nates, not for cognatorum. The rogi are the cognati ; cf.
m. 5. 8 n. Prop, seems to imitate CatulL 68. 97 sqq. non
inter nota sepulcra nee prope cognatos eompositum
cineres.

11. Compare a very similar epigram of Glaucns in the
Greek Anthol. 7. 285

ov kouls ovb* o\lyw Tirprjt /Sotpos* aXX' 'Epafflinrov

rjv iaop$s avrrj xa<ra Od\aa<ra ra^os,
(Skero yap ovv vrjl* rd 5* 6<rria xoL ror itcclvov

nvBeratf aid via is ypuxrrd ftovatt ip&reur.

The phrase in the second line may be an echo of Pericles'
Traaa yij ra<pos. astant, a little more vivid than slant.

Ovid imitates Her. 10. 123 ossa super stabunt uolucres
infaanata inarinae.

12. Observe how the vastness of the sea is suggested bythe
rhythm. Note too that Prop, says pro tumula, not tumulus
(r<ty<*). It is worth while reading Mr Buskin's most instruc-
tive analysis of the lines "whose changing mound and foam
that passed away Might mock the eye that questioned where I
lay," Modern Painters m. p. 166. It is not all applicable
here. But I may be excused quoting one sentence. 'Then,
having put the absolute ocean fact as far as he may before oar
eyes, the poet leaves us to feel about it as we may, and to trace
for ourselves the opposite fact, the image of the green mounds

JTOTEB. JV. Til k:

(hut do not change, sad -flbefrinfee auioittBL tasmm tsar a
not pass away; and theme to ioliow ami aavt la* aaaanami
images of the calm life with the qmfttyawEU am. la*-
life with the lading foam.' It ifa
literally 'znoand,' hut it is a

13. «wtwn*- 'ealaimtoiff.' -ftmvr. -cobs* o' fear ' a*
t. 28, and Or. F- 1. 551 Coast Aasemtma* nm'r- axnv n*~
famia silttae. GL X, 2. 17 di#o<m£ui. xapfcae mittrjia r f r:
Am. 1. 6. 53 ffi sari* « raptac. Jborca, sseaw O^ttnvuic.
For the nOde see Plat. Phaedr. j,. 52U-

14. tasta, Le. to excise audi crnfchj.

15. qnUtnaiL, *why, prov,' am» «anpbatk atnc ecdiooma,'
than gvad. So chiefly in the amm poefe. janatas. Ul -\.
6 n. Veptsme, perhaps an alroaiox. to PoBeuusv*.
land lacing Argenxumi, as Prof. £liis

16. tir**—. * gnUtlesB.'' Bhipwre^r a* t rrcikhnaBXl inamj
heaven is a common idea, e.g. Hor. 0l_ 2. i. .2C stj^,

17. ae&attam ■■"— '— Far the use witu a eoliseirvt d
numcrare pecus, numeral? tempos Garni lnsi. iL 172 : and
Humerus uini, Ac. The forger of Consol Ijt. ha* 447 ^col
numeral annos f In a different cannezian Hoi. i*p. 2. 5L 214/
mtales grate Humerus *

18. mater in are tEmat, imitated in Or. U. 11 544
Ceyct* tn ore nuZZa nz«i Halcponesi. mm mtfsat nmm oaaa,

but Ov. M. 2, 8 caeruleos habet uuda dtos. Contrast x. b.
41 n. Propertins has forgotten Keptnne t. la.

19. nam explains the last phrase, lie eonstraction is
complicated, ad saxa probably goes after Jfeata; compare
i. 20. 20. noctornia, as P. rightly says, after the ship was
moored at erening ; Theocsr. 13. 33L

20. ^hw^mi*, the hawsers lor mooring, vefrporft,
Aen. 1. 169. detrtta, worn away with the chafing. caw
dunt, 'fall away.'

21. sunt, 'there areS absolute. Ct t. 6. 15 est Phoebi
fugiens Athamana ad Mora pontus. cm**, 'the distressed
love. ' Cf. i. L 36 n., and for the plnr. x, 11. 7 ignibus and note
an furores i. 5. 3. testantla. He takes Argennum to be derived
from Argynnus, the name of the youth. Agamemnon, as Prof,
Ellis points out, was specially honoured near Glazomenae (Paua,
7. 5. 6), apparently in connexion with some hot springs.

p.p. n

162 NOTES. IV. vii.

22. The text is Prof. Ellis' brilliant emendation for the
vs. minantis aquae. He says : 'We may fix the scene of Paetos'
shipwreck at that part of the coast of Lydia where the land,
which contracts into a narrow neck between Clazomenae on
the north and Teos on the south, again broadens oat into a
rocky peninsula with three bold promontories, Corycium south,
Argennum south-west, Melaena north. All these are projection.*
of Mount Mimas*/ notat, 'brands,' cf. iv. 10 (11). 4*
Tarquinii nomine quern simili uita superba notat; paraphrased
by Ov. (?) Her. 16. 208 et qui Myrtoas crimine signal
aquas. Mimantis, called the ' windy ' Mimas, Od. 3. 173.
The stormy character of the coast is clear from the account of
the battle of Arginusae.

23, 24. These lines seem to point to the other legend of
the death of Argynnus, which represented him as lost while
swimming in the Cephissus in Boeotia. Prof. Ellis thinks that
'the original legend was connected with the Boeotian coast, that
it subsequently extended to the opposite side of the Aegean,
and that Propertius who, as a learned man, had heard the
story connected with both localities, indicates in these two
lines somewhat awkwardly the connexion.' He paraphrase*
the four lines thus: 'P. was wrecked on the coast which re-
tains the name of the lost Argynnus, that youth whom Aga-
memnon vainly sought to discover, and kept the fleet at Aulis
waiting in the hope of doing so — a delay which caused the
death of Iphigenia.' non soluit. The negative is thoroughly
Propertian. See Introduction. mactatast. So v. 1. 109,
110. In iv. 22. 34 we have the substituted stag (subdita eerua).

25. reddlte, Neptune and Aquilo v. 13 — 18. Scaliger's
transposition of 25 — 28 to come after 70 is not proven. If the
lines are moved, they should be put after v. 64. corpus, the
body despoiled of fife, positaque. The Neap. us. has
positast ; but this makes the passage too jerky.

26. Compare Petron. 114 out quod ultimum est iratis etiam
ftuctibus imprudens harena componet. ullis, not Terr
complimentary as an address, but Prop, is inattentive to the
precise form of the expression. Cf. Introduction. hares*,
addressed as in i. 22. 8.

27. transiWt. in. 2. 5 n.

28. tlmor, see n. on v. 13. A similar warning in Anth.
Or. 7. 266 vavrjyov rd^os elul AcojcXIos ° ol 8* dyeryorrac, <ptv rokpsi*
oar ifAov Tclaftara Xwrapevou

* Voir. ColL Lond. Professorial Dissert 18TS-&, which ses.

NOTES. IV. viL 163

29. curuate. Mr Peskett's emendation* for the us. curuae
(Edd. curuas). Cf. iv. 22. 35 curuare cornua, 'to make carved
horns. 1 texlte is appropriately used of ships, ' fabricate/ as
in Aen. 11. 326. causas, i. e. things that cause death. Ov.
E. P. 4. 7. 12 aspicis et mitti sub adunco toxica ferro et telum
cansas mortis habere duos.

30. acta, of impelling ships, as in Ov. F. 1. 340. Pro-
pertius means that those who go on the sea are rowers in
Death's vessel. Mr Beid suggests that the metaphor is from
hurling a javelin, for which see v. 6. 22 n.

31. Lachmann puts the stop after fatis, comparing Seneca
N. Q. 5. 18 quid maria inquietamus t par urn uidelicet ad
mortes nostras terra late patet, an obvious imitation.
Lucan 3. 196 fatisque per illam accessit mors una ratem
supports the punctuation of the text, which gives a more usual
construction and a better rhythm.

32. Sen. Contr. 7. 1 multas rerum natura mortis uias aperuit
et multis itineribus fata decurrunt. mlseras, 'leading to
misery.' See Introduction.

33. There is a play of words. teneat='keep its hold
on you,' i.e. physically on your ship; tenuere, metaphorically
'kept you from wandering.'

34. cul, i.e. who is not satisfied with his native land;
imitated in Ov. Am. 2. 11. 30 et t felix, dicas, quern sua terra
tenet t

36. consenuit, like Catullus' phaselus 4. 25 recondita senet
quiet e. portus. Cf. in. 20 (17). 24 an quisquam in mediis
persoluit uota procellis cum saepe in portufracta carina natett

37. substrauit, like a smooth floor. Cf. stemere aequor.
Lucretius frequently uses substratus of the sea, e.g. 6. 619.
For the sense cf. Lucr. 2. 557 infidi maris insidias uiresque
dolumque — subdola cumplacidi ridet pellacia pontu

38. A curiously roundabout expression. Cf. Introduction.

39. triumphales, a proleptio use, 'going to a triumph.'
Capharea. For the form cf. Pacuv. 136 pater Achiuos in Ca-
phareis saxis pleros perdidit. Ovid has -eus more correctly
Tr. 5. 7. 36. Cf. Hygin. Fab. 116. Nauplius, king of Euboea,
in revenge for the death of his son Palamedes, lighted false

• Proposed Independently by Mr W.T. Lendrum of Csiufl ColL, Cambridge.

11—2

164 NOTES. IV. rii.

fires on the Greeks' return from Troy and so decoyed them
on to the rocks of Caphareus. Gf. v. 1. 115, 116.

40. Graeda, a natural exaggeration, as in bk. v. L c
tracta, dragged by the currents. Gf. Lucan 5. 235 Ewripus-
que trahit cursum mutantibus undis Chalcidicas puppet ad
iniquam classibus Aulin, salo, probably an abl. of place;
possibly one of means.

41. paulattm with lactnram. Gf. i. 22. 3 n. This 'gra-
dual, piecemeal loss' is the most harrowing part of Odysseus'
sufferings. socium, contracted form as in Aen. 5. 174.
VUxes, an instructive example of how Greek words are treated
in early Latin, u is for o (as Hercules for older Hercoles), I for
d (compare oleo with odor), i f or U (v, as in oriza), x for <r<r (ai
mala&o for fiaX&aaw).

42. soliti. MS8.8oli; i.e. 8oli(li), non nalnere In. In
a different sense v. 7. 68 in scelus hoc animum non ua-
luisse 8uum.

43. patrlo, paterno, as in 11. 7. 20. Cf. Hor. Epod. 2. 2
Beatius Me qui — paterna rura bobus exercet suis. uerteret,
'if he had continued to turn.' The student must carefully
distinguish between impossible suppositions relating to the
present and those relating to the past, which are represented
by the same forms in Latin. uertere = 'plough/ as in Yirg.
G. 1. 2.

44. uerba mea. P.'s trans, 'the sentiments which" I now
express in words' may be right, though there is no reason why
Propertius should not have given Paetus a warning. pondus
habere. Cf. v. 7. 88 cum pia uenerunt somnia f pondus habent.

45. uiueret, 'he would be now living to feast.' Observe
how the language is humoured. The intervention of duxisset
makes this change in the use of the imperf. (uerteret v. 43 * *
uiueret), possible; cf. Aen. 11. 162 obruerent Rutuli Ulis!
('would they had been overwhelming me!' a pictorial imperf.)
animam ipse de diss em atque haec pompa domum me non
Pallanta referret ('were now bringing me'). ante sum
Penates. For these family festivities cf. Hor. S. 2. 6. 66
noctes cenaeque deum quibus ipse meique ante Larem pro-
prium uescor, Ov. F. 6. 305, 306 ante focos olim scammt
consider e longis mos fuit et mensae credere adesse deos. dnlds
conuiua, cf. rv. 9 (10). 25 du lei a que ingratos adimant con-
uiuia somnos.

NOTES. IT. viL 165

46. pauper, at. Cf. n. 5. 15 n. pauper is virtually nega-
tive ; hence at is used. Cic. Ao. 2. 11. 56 non cognoscebantur
fori*, at domi. Here potest. This, the ms. reading, is cor-
rupt, posset being required. Lachm. reads potti for potis (esset),
which is hardly satisfactory, though better than the much
praised flare, which can only mean ' where nothing can blow,'
which is not true, or 'where blowing has no power}' which is
very harsh. I think sat est was the original reading. Compare
contentus v. 46. ' He was poor, it was true, but he was on terra
firma, where freedom from misfortune is enough food for content-
ment.' The correction is somewhat confirmed by Callinu Fr.
HI, (114 Bergk) which Prop, is imitating, rplfffiaicap el iravpwp
o\pt6s i<rri fi£ra, vavriklrit o? vrjiv (' unaoquainted with') f^ei
§iov. potest in y. 38 induced the corruption'.

47. non tulit, 'he could not bear to hear,' not 'he had
not to endure.' P. hunc, pointing him out as a warning.
Tib. 1. 8. 71 hie Marathus quondam miseris ludebat amantes.
stridorem, 'the hurtling' of the blast ; cf. Aen. 1. 102 strident
Aquilone procella.

49. thylo thalamo (mss. chio calamo). In. my first edition
I took this ' on a bed made of the Ova or Ovla or citrus tree,'
thalamus being used as in Prop. iii. 7 (6). 14 r Petron. 26. See
however Addendum, p. 246. This wood (thuja articulata, still
grown in Barbary) was chiefly used for tables and couches,
Mayor on Juv. 1. 137 orbibus. thyio is an adj. like Ovios [iff)
Theophr. H. P. 5. 2. 1. Oricia terebintho. The substance is
put for the object made from it, as often. The phrase is from
Virg. Aen. 10. 136 (where the wood is used as a setting for
ivory) quale per artem inclusum buxo ant Oricia tere-
bintho lucet ebur. ' The turpentine tree (a name derived from
terebinthinu8) is a stately tree resembling the ash,' P. For
Orico8 see i. 8. 20 n.

50. effultum, for ms. et fultum; cf. Mart. 3. 82. 7
effultus ostro Sericisque puluinis. pluma, a second abl.
'propped up with cushions of feather tapestry'; the work of
the plumarim, see Becker Gall. pp. 288, 289. So Mart. 14
146 perdidit unguentum cum coma, pluma tenet; and so Juv.
1. 159 uehetur pensillbus plumis, ' feather hangings,' is best ex-
plained, pauper v. 48 shows the picture is ideal, cf. Addendum.
uersicolore, ' changing colour,' like shot silk: the proper mean-
ing. So of the peacock's feathers, of the colours on a pigeon's
neck (plumae uersicolores Cic. Fin. 3. 5. 18), of Astur's arms
(Aen. 10. 181) ; and hence coupled with lustre (metaphorically)

166 NOTES. IV. vii.

Quint. 8. praef. § 20 translucida et uersicolor quorumda*
tlocutio.

51. When the drowned have been exposed for some time
to the action of the elements, their nails drop away. Pro-
pertius knew this ; and, not understanding the cause, thought
that it might happen during life from the mere force of the
waves. This is however impossible.

52. trazlt. So Gr. *Xjc«j>, Eng. 'draught.' Lucan 7. 822
has trahe, Caesar, aquas. hiatus, 'the open mouth.'

53. fexrl. in. 22. 24 (18. 44) me licet unda ferat, te modo
terra tegat. uldit, 'looked on at.' A very vivid use. In-
proba, 'pitiless'; cf. Ov. Tr. 1. 11. 41 improba hiemps and
i. 1. 6 n.

54. tot, those mentioned w. 51 — 53. For a similar enu-
meration cf. Anth. Gr. 7. 392 XcuXa^ kcu iro\i> Kv/xa teal dvroXal
'ApKTOvpoio koX ffKoros AlycUov r oTdfia ica/co? irek&ytvs rattf*
ajia Trdvr ixvicqaev iprp via.

55. liens. See in. 23. 7 n. tamen, in spite of the dis-
tress painted in the preceding lines. extremis querelia.
So of Ariadne's last lament ; Cat. 64. 130.

56. niger, from its depth and the darkness. clauderet
ora, i.e. was choking him. Imitated by Ov. A. A. 2. 92 clau-
serunt uirides ora loquentis aquae.

57. Not, a3 P., *di maris, et uenti, et, 1 &c. The dl are the
Ventl ; cf. Hor. Od. 1. 3. 15, 16 Noti quo rum arbiter Hadriac
maior tollere seu ponere uolt freta.

58. quaecumque, perhaps ' every passing wave.' For the
Structure v. 11. 16 et quaecumque meos implicat unda pedes.
degrauat, 'causes to sink, weighs heavy on.' Ovid, M. 5. 352,
has degrauat Aetna caput.

59. primae. There seems no authority for tenerae, which
has apparently been printed by Lachmann by mistake, and
has found its way into other editions. lanuginis is a loose
gen. of description, ' years whose mark is.' miseros annos,
the tendency commented on in i. 2. 31 pushed to its extreme;
'me, a wretched boy.' Callim.l. c. has aXX' iftos alwp Kvpcurur
nlOilrjs /jaXXa? ia^Klaaro. It is curious to see what the author
of Ov. Heroid. 15 has done with the line, verses 85, 86 quid
mirum si me primae lanuginis aetas abstulit atque anni
quos quis amare potest ? (abstulit has evidently been suggested

NOTES. IV. vii. 167

by rapitis, whioh is the usual word for untimely death, v. 11.
62, 66, though here used in a different sense).

60. attulimus, ( I came with*; cf. v. 6. 31. longas,

* taper hands,' whose youthful beauty is now destroyed by the
sea (v. 51) ; a pathetic reproach. Long hands were considered
beautiful, Prop. n. 2. 5.

61. alcyonum scopulis, the rocks where they build. So
Ov. M. 11. 746 incubat Alcyone pendentibiis aequore nidis.
'This agrees well with the character of the Asiatic coast as
of the vcuira\6e<r<ra Xlos from which, at Argennum, seemingly
the narrowest part of the channel, it is separated by a distance
of less than eight miles ; cf. freta.* Ellis.

62. caeruleo, cf. in. 21. 16 n- fusdna sumpta.
So Posidon in the Od. 5. 291 avvayev ve<pi\as irapa^e &
vbrrw, x € P (r ^ rplaiwav iXww. in me, 'against me.'

63. regionibus, indef. plur. 'some district of Italy.'
Augustus divided it into 11 regiones. The word is used gene-
rally of any division of a country. euehat, l£tp£yjc<M, 'throw
me ashore at.' Ov. H. 18. 197 optabo tameri ut partes cx-
pellar in ill as.

64. hoc de me, my lifeless, mangled frame. For the expr.
cf. iv. 11 (12). 13 neue a liquid de te fiendum referatur in
urna. modo seems to shew that lioc is nom. to sat eriU

65. Compare Petr. 114, which reads like a parody, et ilium
quidemuociferantemin mare uentus excussit repetitumque infesto
gurgite procella circumegit atque hausit, torta uerti-
glne, 'in eddying whirl.' uertigo is the circular movement. V.
Aen. 1. 117 is a good commentary, ilium ter Jluctus ibidem
torquet, a gens circum, et rapidus uorat aequore uortex.

66. quae, referring vaguely to Tiaec fantem; cf. i. 16. 38.
The same idea in a different connexion comes in Thuc. 3. 59. 4,
OTep 5& dpayKaioP Kcd xaXe7roJraroi' rots «5' £x ou<rt » Myov reXcv-
t<xp, diori Kal rod fiiov 6 Klvdvvos iyyits per* avrov.

67. centum. So Sophocles, Plato, Ovid. Kereo genl-
tore, for the abl. cf. V. Aen. 3. 614 Achaemenides ge nit ore
Adamasto*

68. tacta, 'who hast felt a mother's woe'; i.e. whose grief
for Achilles should make you sympathize with others in the
like affliction; Ov. Am. 3. 8. 2 Memnona si mater, mater
plorauit Achillem et tangunt magnas tristiafata deas*

168 NOTES. IV. viL _

69. lasso supponere bracchla mento, appropriated by Or.
E. P. 2. 3. 39: cf. E. P. 2. 6. 14.

70. granare, 'burden,' i.e. weary with his weight.

71. mea vela, ' see sail of mine/ i.e. see me sailing.

72. ante fares domlnae. Cf? n. 1. 55, 56 una meo$ quomam
praedatast fcmina aensus, ex hac ducentur funera nostra
domo. condar, sepeliar: usually with some defining word,
e.g. kumo. Hence perhaps with an accessory metaphor 'laid
up' of a ship; cf. Cat. 1. c. nunc recondita tenet quiett.
Compare lners, which seems to have been specially used of
weather-bound seamen and their crews. Compare i. 8. 10.
Here it = 'living the inactive life of love/ uitae inerti Tib. 1. 1.
5; cf . id. 1. 1.58 tecum dum modo sim, quaeto, segni* inersqtu
nocer.

IV. ix.

Introduction.

This poem is addressed by Propertins to Maecenas, and is
an apology for his not venturing on the historical subjects
recommended to him by that minister. The poet appeals to
him to respect a modesty like his own, and grounded, unlike
his own, on a real incapacity for the subjects which it declined.
The only clues to the date are given in w. 53 — 56 which shew
it was written after the battle of Actium and after the restitu-
tion of the signa had been demanded from Parthia.

Abguukxt.

Maecenas, why impose upon me a task which is too great
for my powers (1 — 6) ? Everyone has a sphere of his own. '
the range of art Lysippus, Calamis, ApeUes, Parrhasius, My.
Phidias, Praxiteles have each their special branch in which
they are preeminently distinguished (7 — 16). And so it is ro
all eases (17 — 20). My natural bias is the same as yours (21.
22). Though you might have advancement at home and gkrj
in war, though your influence with Caesar secures you all tb?t
you could desire, you prefer humility and retirement (23 — Su*.
This prudent abstinence will make you as famous as the hero©
of old (31, 32). Tour loyalty to Caesar will ensure you immor-
tality by his side (33, 34). So I too must be modest (35, 36 .
I cannot venture on heroic themes (37 — 42). My theme is Ion

NOTES. IV. ix. 169 '

(43 — 46). But, if you lead the way, I will rise to a bolder flight
and sing of vaster subjects, the wonders of the old mythology,
the ancient and the modern glories of Borne (47 — 56). Mean-
while view with favour my present attempts, and do not forget
that your example is my justification (57 — 60).

1. eques, 'simple knight.' Maecenas ostentatiously de-
clined the offices of the state, contented with being the private
minister of Augustus ; and this 'humility' is duly celebrated by
the court poets. Etrnsco de sanguine regum, 'of Etrurian
royal blood' : i.e. descended from the Lucumones ; cf. Hor. Od.
3. 29. 1 Tyrrhena regum progenies (a similar phr.), Mart. 12. 4
Maecenas atauis re gibus ortus eques. One of his ances-
tors was Porsena; hence Augustus in Macrobius Sat. 2. 4. 12
calls him berylle Porsenae. Cf. Sohol. Hor. Od. 1. 1.

2. Intra, i.e. who take less than your fortune entitles
yon to. Hence Ov. Tr. 3. 4. 25 crede mihi, bene qui latuit
bene uixit, et intra fortunam debet quisque manere suam, so
Quint. 11. 3. 8 scripta Hortensi intra famam sunt, cupls. This
may mean that circumstances would not let him realize his
humble ambition. See however Introduction.

3. Bcribendi aeqnor, ' a sea of writing.' This use of a word
denoting space with a verbal noun is perhaps unparalleled
in Latin. Dante Infern. i. 60 has quella fonte Che spande di
parlar si largo fiume. But we hardly expect to find such
modern boldness in an ancient poet.

4. non apta, for they may make my bark capsize; i.e. I
must not choose great themes, or I may suffer poetical ship-
wreck. Ovid appropriates the metaphor, Tr. 2. 548 saepe dedi
nostrae grandiauelarati,A. A* 3.26 conueniunt cumbae
uela minora tuae.

5. quod nequeas, i.e. ferre. The inf. with verbs like
possum, is sometimes omitted where it can be readily supplied
from the context, either when some other part of the verb to be
supplied comes in the sentence (so most commonly), or when
the verb is suggested by some other word, (as here by capiti
committer e } ) or very rarely when it has to be inferred from
the general sense, App. ApoL p. 534 posse litteras ejus ad per-
niciem, non posse ad salutem (so. scribere). For the sentiment
cf. Hor. A. P. 38 sumite materiam uestris qui scribitis aequam
uiribus, et uersate diu quid ferre recusent quid ualeant umeri,
Jjivy 24. 8, 17 magis nullius interest quam tua, T. Otacili, non
tmponi eeruicibus Puis onus sub quo concidas, Statius Silv. 4.

170 NOTES. IT. ix.

4. 97 has Propertius in view, stabuntne sub ilia mole umeril
an mag no uincetur pondere ceruixt die, Marcelle, feraml
Jluctus an eueta minores nosse ratis nondum Ionii credenda
periclist

6. dare terga. The back is exposed in falling forward as
well as in running away, though the former is a rare applica-
tion of this phrase.

7. omnia rerun, ' everything in the world.' P . is not exact
in supplying genera. The neut. is indef. and the gen. is like
Aen. 2. 725 opaca locorum 'the dark bits in the ground'; cf.
Hor. A. P. 49 abdita rerum^ Od. 2. 1. 23 cuncta terrarum. om-
nibus, masc. Ovid imitates A. A. 3. 188 lana tot out phircs
bibit': elige certos. nam non conueniens omnibus omnit
erit.

8. ex aequo iugo. The general sense is ( in order to be famous,
you must have a province of your own and keep to it. You
must be solus and have no one running alongside of you.' The
usual explanation, approved by Prof. Ellis, is ' no two candi-
dates for glory pull evenly in the chariot of fame'; aequo iugo-
taov {Vyo'p, a yoke in which two animals pull evenly; cf. i. 5.
2n. I prefer taking it 'from level yokes,' like those of the
two charioteers in Soph. El. 738 i^awaavrc $v>d: i. e. 'you
cannot get any glory out of a race in which you do not distance
^youi' competitor.' Mr Reid sends me the following note : " I
believe palma to be the right reading for Jama and iugo to be
certainly a hill, as in v. 10. 4 nee iuuat e facili lecta corona
iugo, which gives the key to the general sense here. What ex
aequo originally was is a puzzle. Some mss. have eoo; possibly
read e Coo.. .ilia — ' Such laurels are not to be won on the Coan \
(Philetean) Parnassus.' Coum iugum in this sense would be
no harsher than Cyreneae aquae in v. 6. 3. This emendation
has at all events the merit of explaining the ms. corruptions.
ecoo would readily pass into eco, equo, aequo, and ex would be
easily added. Jlamma would come out of plama. ilia and ulla
are interchanged incessantly."

9. gloria, for the nom. cf. in. 1. 6. Lyslppo, the
celebrated statuary in bronze. He was a contemporary of
Alexander the Great and was the only statuary whom that

Erince allowed to represent him, Hor. Ep. 2. 1. 240. One of
is most celebrated works was a statue of Kcupc'y or Oppor-
tunity, with a lock of hair in front, but only baldness behind.
anUnosa. The senses of ' spirited ' and ' lifelike ' naturally pass
into each other, as we could have gathered, even if the gloss

NOTES. IV. ix. 171

quoted by Hertzberg had not been preserved, animosus animates
tfjuftvxos* For this character of Lysippus' work cf. Quint. Inst.
12. 10. 9 ad ueritatem Lysippum ac Praxitelem accessisse
optime affirmant. The same idea is expressed by the gram-
marian Nicephorus Chunnus (quoted in Smith's Diet. Biogr.
s. v. Lysippus), who speaks of Lysippus and Apelles as making
and painting {(aaas eU6ras koX vvorjs uopov koX Kivijaeus dvo\ei-
TrofUvas, Boissonade Anecd. vol. in. p. 357.

10. exactis, 'finished,' /a cti* ad unguem: cf. iv. 21. 30
siue ebore exactae seumagis acre manus. Cicero and Quintilian
say his work is less rigid than his predecessors'. Calamia,

a contemporary of Phidias, who was most famous for his eques-
trian statues, though these were by no means his only wc~ks.
Compare Ov. E. P. 4. 1. 33 uindicat ut Galamis laudem quos fecit
e quorum, Plin. N. H. 34. 8. 19. 71 ipse Calamis et alias qua-
driga* bigasque fecit, equis sine aemulo expressis. se mini
iactat, commends himself to my taste; cf. Ov. (?) Her. 21.62
quid mihi te iactas f gratia nulla tuast. For the escape of per-
sonal feeling in mihi compare in. 29. 13 hie equidem Phoebo
uisus mihi pulchrior ipso and Introduction.

11. Veneris tabula, the celebrated picture of Venus rising
from the sea. See Plin. N. H. 35. 10. 36. 91 and elsewhere.
summam, 'perfection 1 ; cf. Quint. 12. 1. 20 nan maligne cre-
diderim defuisse ei summam illam ad quam nemo propius
accessit. Apelles ranks his Venus as his chef tfoeuvre.

12. Parrhasius, the younger contemporary of Zeuxis
(circ. b. c. 400]. His miniatures {parua arte) were not his
most characteristic works. The only mention of them besides
here is in Plin. N. H. 35. 10. 36. 72 pinxit et minoribus to-
be Hi 8 libidines, eo genere petulant is ioci se rejiciens. To these
miniatures Ovid probably alludes Trist. 2. 524, calling them
paruae tabellae. parua arte, i.e. a skill exercised on
small subjects. This is preferable to taking it 'small works of
art,' a sense confined to the plur. as e. g. Hor. Od. 4. 8. 5.
locum, 'claims his rightful place/ Some read iocum from the
passage in Pliny without necessity.

13. *To the mould of Mentor groups are chief assigned.'
argumenta, ' subjects': i. e. scenes or groups; cf. Cic. Verr. 2. 4.
56. 124 ex ebore diligentissime perfecta argumenta erant in
ualuis (a group like those mentioned in ut. 29 (23). 9, 10),
Ov.' M. 13. 684 (cratera) fabricauerat Aleon MyUus et longo
caelauerat argumento. Such an argumentum is described in
Mart. 8. 51 quiz labor in phialat docti Myos anne Myronist

172 NOTES. IV. ix.

Mentoris hate manu$ est an, Polyclite, tuaf...terga promt
peeudis geminis Amor aureus alis: PaUadius tenero lotos ah on
sonat. fonnae, * mould' or 'shape.' Here, as in v. 2. 61, it
has a technical reference which has been overlooked by the
commentators. To understand it we most go a little into
detail. In the earlier periods of ancient art statues seem to
have been made by embossing or beating oat thin softened
plates of metal on to a raised pattern ; for examples see Miiller,
Ancient Art §§ 60, 71, Ac. Later this process was superseded
to a large extent by casting in moulds, an invention ascribed to
Phoecus, a Samian, who flourished circa b.c. 630. These
were exclusively used in the case of large bronze statues; but
in the case of gold and silver statues and of smaller objects
embossing was retained (id. §§ 807, 311, 312). But moulds
were also used in the processes of caelatura or Topcvrunj, the
object being roughly cast and then finished with the caelum or
graver. The statuary's moulds are called TdySot and x^o*
in Greek, &nd format in Latin which is also used of the collator's
smaller moulds as here. See Pliny 86. 22. 49. 168 format in
quibus aera funduntur. Hence a statua maxima forma,
Plin. 34. 5. 10. 19, is a statue of great size. It is not certain
whether the raised pattern used in embossing was called forma.
Toreutic and statuary must be carefully distinguished, though
many of the greatest Greek artists were celebrated for both
(Smith, Diet. Ant. s. v. caelatura). magls, 'more than

others,' 'especially.' Mentoris, the most famous of the

Greek silver chasers. His date is uncertain; but he lived before
B.C. 356, as most of his larger works were destroyed in the
burning of the temple of Artemis at Ephesus. Martial fre-
quently alludes to him. sunt addita, a curious use ; they
are ' an adjunct' of the forma, they naturally go with it. additut
is used as a sort of adjective ; ci Pacuv. Fr. 269 fetus muliebri
ingenio additust, i.e. you can't have the one without the
other. Here it requires a stretch of the conception to connect
the ideas, as they are so far asunder. The connexion is easier
in Soph. El. 1040 ctprjKas SpBtas £ ci> Tp6<TK curat rac$, with
which contrast Ant. 1243 6Vy fuiyurrw dvdpl t po <tkc it at

KaKQV.

14. 'But Mys bids the acanthus wind on a narrow way.'
at, Propertius' usual at in contrasts; cf. el. 3. 36. Kyos,

a contemporary of Parrhasius who made designs for him. Like
Mentor, he was a toreutic artist. flectlt iter, 'bends its

course aside': so of turning out of one's path, Livy 1. 60. 1
jiexit uiam Brutus; in Aen. 5. 28 fleets uiam uelis 'guide' your
course by your sails. acanthus, a frequent ornament on

NOTES. IV. ix. 173

caps; e.g. Yirg. Eel. 3. 45 molli circum est ansae amplexus
a cant ho. exlguum. The acanthus was a plant with

long broad leaves. So PropertiuB probably means that it is
straitened, as it were, on the narrow goblet.

15. 'For Phidias Jupiter arrays himself in ivory statue.'
This line may be easily mistranslated. The fundamental idea
-which runs through it is that it is hard to tell whether the God
is there in person or in representation, the ideal is so fully
realized. This is a frequent theme with ancient writers, when
speaking of the Olympian Zeus; Livy 45. 28. 5, of Aemilius
PauUus' visit to Olympia, Iouem uelut praesentem intuens
motus animo est, Lucian Somn. 8 $etdlas iiceivos tdeige tqv Ala.
Compare Strabo 2. 8. 199 ' He was the only one that saw or
the only one that revealed the forms of the Gods.' Anth. Gr.
16. 81 rj Beds -rjXd' irrl yrjv £% oOpavov, eU6va 8el£(av, $et&a, rj at
y' ipnt rbv debv dyf/bfievos. To pass on to the separate words :
Phldlacus is an emphatic predicate, 'at the bidding, for the art
of Phidias.' The adj. is much more indefinite; but this is the
sense. For Propertras' habit of throwing the stress of the
sentence on to a single word, see Introduction. Iupplter.

Of itself, this word might mean either (1) the real Zeus, the
original, or (2) the Zeus of Phidias's imagination, his conception
of Zens, or (3) his realization of that ideal, the statue itself.
(2) is certainly what is intended. Compare Cic. Orat. 2. 9 nee
uero Me artifex, cumfaceret Iouis formam aut Mineruae, con-
templabatur aliquem e quo similitudinem duceret, sed ipsius in
mente insidebat species pulchritudinis eximia quaedam
quam intuens in eaque defixus ad illius similitudinem artem et
rnanum dirigebat. But the expression also carries something of
(1). First we have (cf, forma, se ornat) a hint of the personality
of the God as suggestive of the perfect art of the sculptor.
Zeus is not loth to be thus exhibited; he is himself a
consenting party. Compare the words in which Lucian de
Sacrific. 11 scoffs at this feeling. * Nevertheless those that pass
into the temple no longer fancy they are looking on ivory from
Ind or gold from the mines of Thrace, but the very son of
Kronos and Rhea, brought by Phidias to earth and bidden to
survey the desolation of Pisa.' Again (3) is suggested by the
phr. Phidiacus Iuppiter, which would be most naturally
applied to the statue itself, as in Mart. 7. 56. 1. se ornat.

There is an idea of spontaneity about this, 'naturally clothes
himself.' It is rather a middle than a passive, as P. takes it.
On this see the Introduction. It is interesting to see how in
these uses which reappear in Romance, as in s'echapper, muo-
vere si, the Latin is returning on its old path which produced the

174 NOTES. IV. ix.

passive (ornat-u-r=ornat-se). ornare here is to ( equip, array
magnificently,' dvKeiv. So somewhat similarly in Yirg. Aen.
12. 344 nutrierat Lycia paribusque ornauerat armis.

16. 'The stone of his native city shields Praxiteles' fame.'
Braxltelem, the illustrious sculptor who flourished about b.c.
350. We know that he was an Athenian from inscriptions,
and that his most famous works, the Cnidian Aphrodite, the
Eros, &o., were made of Pentelic marble, so that there is not
the slightest necessity to emend Paria. ulndlcat, 'defends,
protects' rather than 'claims as its own,' as P. takes it; cf. v.
9. 56 qua se summota uindicat ara casa, ' asserts its sanctity.'
propria urbe, for the abl. of origin see Boby 1264.

17. 'There are some on whom the poem of Elis' racing
oar attends.' est quibus = <?<rrh' ots, a bold Graecism, Introd.
Eleae, i. 8. 36. concurrit, afia rpix^h cvvrpe'x* 1 J compare
Soph. Tr. 295 (in a slightly different sense) voKkfi 9 <rr' dwynj
rjjie tovto ovvrp^x^v. Propertius might have used comitatur,
dtcoXovdei: but concurrit gives the 'racing.' Prof. Ellis takes
it 'for some the prize-aiming chariot contends in the race,'
'runs with other chariots.' He compares Stat. Silv. 3. 1. 179
nunc agmine blando certatim placidae concurrit ad oscula
Pollae. For palma he compares Yirg. G. 1. 59 EUadum
palm as Epiros equarum. It is, I think, the prize itself.

18. In celeres gloria nata pedes, ' there are some for whose
swift feet glory is destined': a perverted expression for which I
know no parallel, though natus in is not unfrequent: e.g. Hor.
Od. 1. 27. 1 natis in usum laetitiae scyphis, Ov. M. 15. 117
placidum pecus inque tuendos natum homines, compare Ov.
M. 2. 223 natus que ad sacra Cithaeron.

19. 20. 'One is born for peace, another is profitable for the
warfare of the camp. Eaoh follows the seeds that his nature
has planted.* satus ad, like natus ad supr. ntlnt
armis, Ov. F. 2. 239 and elsewhere, armis is a word used
in so many senses that castrensibus is added to it for clearness,
semlna, the tendencies implanted in his nature, the original
bent of his nature. Gic. Lael. 5. 19 has a more consistent
metaphor, sequi naturam optimum bent uiuendi due em*

21. 'It is your plan of life, Maecenas, which commends
itself to me.' uitae praecepta, 'rule of life, maxim of
living': cf. Hor. S. 2. 4. 95 forties ut adire remotos atque hawrirt
queam uitae praecepta beatae.

22. eogor. The commentators have taken needless pains
over this word. If it is not the Propertian use of coyer, for

NOTES. IV. ix. 175

which see Introduction, it is used apologetically. Propertiua is
obliged to turn Maecenas' own example against him. ex-,

emplis tula, 'your own ensample': i.e. arguments drawn from
your own conduct. superare, • to overcome you, to refute

you': not to 'outdo you/ as P. takes it.

23. dominas secures, 'imperial axes' with their vast
powers. So Mart. 12. 21. 9 speaks of Borne as the urbs
domina. Romano in honore, 'in Boman office.' For
Romanus cf. in. 1. 4 n.

24. ponere. This is a zeugma. With secures it means to
'plant,' place literally, with iura to place or lay down meta-
phorically. Comp. Yirg. Aen. 1. 264 mores que uiris etmoenia
ponet, ' establish the men customs and walls.' The first
sense receives some explanation from a coin of Cn. Piso and
Cinna, which is copied in Smith's Diet, of Antiquities s. v.
Fasces, where the consul is represented as delivering an address
with the fasces upright in the ground on both sides of him.
For this purpose the securis was probably furnished with a
spike like the butt-end of a javelin, arvp&Kiov or aavpwrip,
though I cannot find any direct mention of it. In Hor. Od. 3.
2. 19 aut sumit aut ponit secures it is used in a different
sense. For its use with lura 'lays down the law' cf. v. 9. 64
ponit uix siccis trutia iura labris. P.'s view that 'it is more
probable that sumere is to be supplied to the word secures than
ponere literally interpreted' is certainly incorrect; though he
does well to remind us that it is a nice question in cases like
the present, whether the verb actually bears two meanings or a
second verb is left to be mentally suggested by the first. Cf.
Introduction.

25. perhastas. This which is Markland's conjecture is
not satisfactory, as the Parthians were not famous spearmen.
Xjachmann's astus is not much better. He thinks astus pug-
naces (for which epithet as applied to the Parthians he com-
pares Lucan 3. 265) is opposed to timido astu which occurs in
Stat. AchilL 1. 385, and is nearly the same as astus belli SiL
It. 16. 32 non ars aut astus belli uel dextera deerat; cf. v. 54.
The ms. reading hostes is certainly corrupt : it cannot be taken
in either of the two ways between which P. vacillates, either as
4 hostes qui ex Medis constant 1 or 'the enemies of the Medes, the
Parthian or Bactrian peoples.' The phras£ of Seneca Med.
713 pharetraque pugnax Medus aut Parthi leues suggests
that arcus, J. Helvetius' conjecture, may be right, in spite of
its divergence from the ms. reading. For the use of ire in

176 NOTES. IV. ir.

this connexion compare Yal. Fl. 1. 438 tu medio 8 glcutto bom
ire per hostes.

26. flza per axm&=fixis armis. Comp. Virg. (?) Cul. 69
tellus gemmantes picta per herb a 8 and Ov. Her. 18. 8 freta
uentis turbida per que c auas uix adeunda rates, Manil. 2. 142 et
gaudente sui mundo per carmina uatis. For the general sense
cf. Tibull. 1. 1. 53, 54 te bellare decet terra, Messala t mariqiu
ut domus ho8tile8 praeferat exuuias.

27, 28. ' And Caesar gives thee power to work thy will, and
at every moment the stream of riches pours into thy lap.'

27. tlbi. Observe the triple repetition and cp. Introduction.
ad effectum, 'to work thy will/ for the accomplishment of your
aims. So ad effectum rem adducere.

28. tarn fadles, 'easily flowing,' coming at your call as if
from a cornucopia; cf. i. 9. 15 facilis copia. lnslnuentur=
in sinum fwndantur 'find their way to your bosom.' I can
only find this use in Statius, who probably took it from Proper-
tius, Silv. 2. 1. 234 et periisse nega, desolatamque sororem qui
potes et miseros perge insinuare parentes. Lewis and Short
quote Appul. M. 9, p. 219, 23 insinuatis manibiu ambulant,
* with hands in one's pockets ' so to say.

29. 'Thou refrainest and in lowliness thou dost gather
thyself into modest shade/ parcis. This absolute use is
rare; Stat. Ach. 1. 572 thyrso par cent e ferit, ie. with a gentle
touch of the thyrsus. tenues in umbras, 'into a humble
retirement.' tenuis belongs rather to the subject of the sen-
tence. Perhaps the phrase is a false echo of in. 3. 20 tenuis
umbra. colllgls, of shrinking up. Compare Virg. Aen. 12.
491 se collegit in anna, Aen. 12. 862 alitis in paruae subitam
c oil e eta figuram=breuiter concreta Prop.

30. 'Of thyself thou furlest the swelling bosom of thy
sails.' uelorum. For the sense cf. Hor. Od. 2. 10. 23
sapienter idem contrahes uento nimium secundo turgida uela,
plenos. So Cic. Dom. 10. 24 plenissimis uelis nauigare.
subtrahis, i.e. from below.

31. magnos Camillos, as in Virg. G. 2. 169, the pluralis
magnificentiae. For the comparison of person and thing see
i. 9. 11 n. ista ludicla, * thy wise resolve.' For the plnr.
cf. Ov. H. 3. 104 semper iudiciis ossa uerenda tuis.

33. 'Thou wilt tread on a path inseparable from Caesar's
fame.' tenebiB, 'hold firmly,' keep firm footing; cf. Aen. 5.

NOTES. IV. ix. 177

332 wxtiffia presto baud temat titmbmt* aria. Ismm i-e.

liis path of bine.

34. erunt. For the ptor. which is dne to the attraetioi. of
the predicate see Boby 1435. van, lunmm, witL ax aEs-
sion to v. 26. Maecenas' real trophies will lie loyalty*

fides, d ii. 1. 36 «t sutnpta et posit* face f&ele caput-

35. uellfera, the same metaphor as in tt. 4, 3ft. V*mn*t
picture the vessel scudding before a high wind war a heavy
sea; a fresh breeze and a swell. ftnmo. a rnugafc fahorteav
ing of the -o in Propertius; eL

36. tota, 'I linger all my time in die sh^Her of a petty
stream': so the xss. tafia, is a tempting but not a
necessary emendation. sab eslgw* ■— ■! — is certain
phrases the meaning of 'under 9 passes into that of 'under the
shelter of Now a thing may be sheltered in two way*, wiueh ae»
distinguished by Latin usage. It may be (a) clout u> an otyeet,
in its shadow, so to speak; this is the sense in tub vrbe, kt~ i
or (b) it may be actually surrounded by it, in it ©r m iU midst.
This is the sense in the phrase sub uaUe (Or. F. 4. 427, tat.\
'in the valley's covert.' We find («J in i- 14L 12 e* Ugitur rubris
gemma tub aequoribut where the poet is **»™vi»»g of the
dome of sea rising from the strand {eL fommmhn aequor) and
in m. 23 (19). 13 n. tub harundme. (b) come* in hl 30 (24).
39 Idaeo legisti poma tub antro 'in Ida's delL' Here we may
take sense (a) with P. who compares vjmpueu' * anebor near
the mouth of a river'; or, as I prefer, sense (£>j * sheltered in it,'
by its banks, nostra morast, virtually =190 surer; eL Intro-
ductdon. For mora in this sense et TaL FL 2. 303 stora nee
term tibi Jxmga cruentit.

37. flebo, 1. 9. 10 n. For its constructions m. 23 (19). 7.
In dneres sedlsse, of the collapse of a burning town. Hence
Stat Theb. 3. 184 ueteris cum regia Cadmi fulmineum in
cinerem monitU IurumU iniquis contedit. paternoa.
This is generally taken as in Hot. Od. 1. 20. 5 pate rnifluminis
ripa 'your native stream.' But if this is understood metaphori-
cally, as meaning that the arx sank into the downfall of Thebes,
its state and citizens, the expression is unintelligibly harsh.
If, on the other hand, it is construed literally, 'it sank into
the ashes of its native land,' it is absurd; for into what other
ashes could it sink? The passage in Statins points another
way. The allusion there is to the destruction of Semele and
of the palace with her. Compare Capaneus 9 defiant address to
Zens Stat Th. 10. 902 seq. tu potius ueniat. — en eineret £«•

P. P. 12

178 NOTES, IV. ix.

meleaque busta tenentur. nunc age, nunc in me totit wtu..
fiammis, Iuppiter: an pauidas tonitru turbare puellas forHoret
soceri thalamos exscindere Gadmif So paternos cinera,
the ashes resulting from Zeus' fatherhood or caused by Zens
then a father, are the fulmineum cinerem of Stat. , and refer to
the birth of Dionysus which Propertius elsewhere calls ma-
ternos Aetnaeo fulmine partus iv. 16 (17). 21.

88. semper, with flebo understood. It indicates impati-
ence; cf. Hor. Od. 2. 9. 9 tu semper urges flebilibus modit
Mysten ademptum. I cannot conceive why the emendation
septem should have been universally accepted. It puts in
Propertius' mouth a statement which is contrary to the fact,
whether it refers to the first or to the second expedition against
Thebes or both together. It is, moreover, unneceRsary, as the
plural proelia covers just as much ground, proelia, the inde-
finite plural, referring to the single combat of Eteocles an-i
Polynices. It is possible, though not very probable, that lie
alludes to the fight of the Zvaprol,

89. Scaeas, so. portas. So Auson. Epitaph. Her. 15. 3
Astyanax Scaeis dejectus ab altis. The wooden horse entered
Troy by the Scaean gate. Apolllnis, i.e. built by him and
Neptune for Laomedon ; ci Ov. M. 12. 593 (said by Neptune
to Apollo) uiuit adhuc operis nostri populator Achilles.

40. rediase, for the change of construction from area cL
jii. 23 (19). 7 sqq.

41. Neptunla, cf. Yirg. Aen. 8. 2 omnia humi fumat Nep-
tunia Troia and v. supr. presslt, fecit ut imprinter e tut.
Pers. 1. 106 (of a book) nee pluteum caedit nee demon*
sapit ungues, aratro, Hor. Od. 1. 16. 20 imprimeretque
muris hostile aratrum exercitus insolens,

42. Palladlae artls. Horn. Od. 8. 493 t6> 'Ereios ivoirper
ffw 'Afl^tf, Yirg. Aen. 2. 15 tquom diuina Palladia arte
aedificant. For the gen. Boby 1280.

43. placulsse, he is thinking of his book. So Ov. Am. 2.
4. 19, 20 est quae Callimachi prae nostris ruxtica dicat carmtn*;
cui placeo, protinus ipsa placet. Observe how much less will
content the poet than the plagiary.

44. Dore. The mss. have dure which is evidently cor-
rupted from in. 82 (26). 44 dure poeta. The name Doris seems
to have had a special application to the district of Asia Mukv
adjacent to and including the island of Cos ; and the Ceramiens
is called the Doridis Sinus, Hence the emendations C«

JfOTXS. IV. ix. 179

and FUIeta are ■— ij . The adj. m <bb of tbe dipped

foots of lrhiiih rmp iiiti m i in i ii fw i i a Tl j fond (cL Inteodnstioa).
The form Dorm comes in Isidore) 9. 2. 80 aid » also found

45. rant, 'inflame' with lore.

46. dmiit an eqraBoa of entJu&vastie adinirasion; ef.
^D e0r.2.42.179maTMl»a^a>as»idm«rf«. atom
■cnt^etOr. B. A. fin. port ewdo fedidefcs men via notapoeta* y

48L B uif umd— J» y Mg, O nismftwfi i. He was the king of
the Giants according to Horn. Od. 7. 58. So thai Propertta*
alludes to the Gigantomachia as well as the Titanomachia
(inCoeat). JM scene was the Phkgraean plains ; el l 20. 9.

49. tanzia, a poetical commonplace; see t. 1. 4 and el t.

2.7.

50. etwJar, set about describing; SO. It. 1. 1 ordior
arm*. It is useless to press the future with P. ; whether he
had or had not described them before, he could say * I will begin
doing so now.' firma, 'now firm,' * gtahliRhed* =firmata* The
me of the adj. reminds ns of Liry.

51. sflnestri ex ubere, • at the wild beast's teats': Le. suckled
by the she-wolf. For the expression Hertzb. compares jmwtqs
used of a none Calhm. H. Bern. 96. The ex=ao: it indicates
•attachment to,' as in m. 3. 10. The well-known group gives
the position exactly.

52. sob tea fossa, 'to the height of thy command*: i.e.
till your bidding is done. The idea of movement, essential for
sub with the ace., is contained in crescet.

53. prosequar, as in Yirg. G. 3. 340 quid pascua uereu
protequart Compare ra. 1. 19 n. The triumphal progre—
makes the word appropriate. utroque ab utore, from the
Eastern and the Western shores of the world. The phrase is
from Virgil G. 3. 33 et duo rapta manu diuerto ex ho$U tropaea
bisque triumphatat utroque ab More gentes. o uant cs ,
used loosely. An ovation was an inferior triumph.

54. remlssa, 'unstrung': cf. Hor. Od. 8. 8. 23 iam
Scythae laxo medUantur arcu cedere campi*. tela is used
here for the 'bow,' as vice vena in Greek rd|a is used for
♦arrows.' It is however quite possible that the sense is 'the
arrows cease to be strained on the bow.' Of. Virg. Aen. 12.

12—2

180 NOTES. IV. ix.

815 nonut tela tamen, nonut contendere t arcum. art*
tae rugae, the gen., as Hertzb. points out. fugae is wed
in the predicative use so common in Propertius and =' Par-
thorum subdole fugientium.' For the sense cf. eL 4 (3). 19 ttk
fugacis equi. P.'s translation 'unstrung for a crafty flight'
makes nonsense, as the bows would not be unstrung if the flight
were crafty or pretended.

55. castra Pelusi. Pelusium surrendered to Octaviu
without a blow. Propertius' language implies its defences
were dismantled, a fact I can find nowhere else. subntta.
the usual word for overthrowing defences. ferro, used of
any iron implement.

56. graues = 'murderous,' * death-dealing. 1 So grauiui-
mum supplicium, grauior hostis. In sua fata, 'to work
his own destruction.' So Ov. Tr. 5. 2. 30 ut taceam strictat
in mea fata manus, and Prop. rv. 22. 38 curuatas in ««
fata trabes. We may translate 'the hand of Antony armed
against his life.'

57. The sense is *I will launch into these great theme?
with your countenance and example but not without it
Meanwhile do you help me in my present course and gnife
my car in its poetical career.' The emphasis is on coeptw
mollia. On metrical grounds this alteration is very probabk.
besides the fact that mollis, the ms. reading, might seem &-
inopportune allusion to Maecenas' mollitia. However it ma. ;
be defended by passages like Claud. Eutrop. 1. 364. fantor.
There seems to be a confusion between the spectator and the
driver. iuuentae, ' my youthful career.'

58. signa, i.e. the clamor fauentium. ImfflMp^* rotii
'as my wheels speed along.'

59. hoc laudla concedls, i. e. so much reputation jwr
example allows me. I confine myself to the modest walk is
which I can copy you.

60. partes tuas, metaphorically 'go over to your side, joe:
way of thinking ; cf. Hor. Od. 3. 16. 22 sqq. nil cupienti»
nudus castra peto et tram fug a diuitum partes linquere gesty
'the ranks of wealth.' The In is due to the idea of motion im-
plied in the sentence; cf. Gic. Att. 15. 4 quo die in Tax*
Ionian ess em futurus. Compare Lewis and Short 8. v.

NOTES. IT. xriiL 181

IV. xviii.

Introduction.

The subject and the interpretation of this poem alike are
wrapt in 'Avernian' obscurity. It is an elegy on the death of
M. Claudius Marcellus, son of C. Claudius Maroellus and
Octavia, Augustus* sister, a young man of the greatest promise.
His talents and amiability recommended him to his uncle's
notice, who probably designed him as his ultimate suocessor.
In b.c. 24 he appointed him curule aedile for the following
year, and gave biTn the means for conducting his office with
the greatest magnificence. To the great grief of all, he died in his
year of office, b.c. 23, from a malady contracted at Baiae, in
spite of the skill of the Imperial physician Antonius Musa who
applied to his case the same hydropathic treatment which had
proved successful in restoring Augustus who had fallen ill
about the same time. The poets of the court vied in tendering
their consolation to Octavia and her brother ; and besides the
present poem we have the well-known tribute of Virgil in the
6th Aeneid. His death was attributed by some to poison admi-
nistered by Livia (Dion Cass. 53. 33), probably an ungrounded
suspicion. Dion seems to incline to the belief that it was due
to the unhealthy condition of the atmosphere which proved
fatal to a great many people. If we could fix the reference in
v. 9 his pressus, we might assert with certainty that it was
caused by the mephitic exhalations of Baiae. This is almost
the only characteristic of that neighbourhood now remaining.
See a striking description in Eustace, Classical Tour through
Italy, Vol. i. p. 557. He is speaking of Solfatara, a district
about a mile N. E. of Futeoli. 'The shattered hills that form
this rampart are impregnated with sulphur and heated by a
sort of subterranean fire. They are destitute of all verdure
and all appearances of vegetation. The plain below is a pale
yellow surface of sulphurous marl thrown like a vault over an
abyss of fire. * * * Sulphurous exhalations rise from the
crevices and from an orifice at one of the extremities a thick
vapor by day and a pale blue flame by night burst forth with
a murmuring sound and great impetuosity.' Of the once
gloomy lake of Avernus, he says, p. 634, that it is 'quite
changed' and that it is ' a scene on the whole light, airy, and
exhilarating.' Of the Luorine (ib.) that in one night it changed
into 'a conical mountain black and barren' (the Monte Nuovo),

182 NOTES. IV. xviiL

while the part remaining is 'a muddy pool half covered with
reeds and bulrushes.'

Argument.

It was on the shores of Baiae, once under the especial
favour of a benign deity but now haunted by some demon
power, that he died (1 — 10). High birth, a mother's love, the
favour of Caesar, youth and promise — all were of no avail (11 —
16). Attend, ambition, this is what awaits you (17 — 20). But
not you only : it is the lot of all. The law of death allows
no exemption. Great men, great nations all feel the stroke
(27 — 30). Yet though he be gone, may he obtain the celestial
honours of his ancestors (31 — end).

1. The allusion is to the IuUus Portia, constructed by
Agrippa. He cut a passage from the Lucrine lake into the
lake Avernus, and at the same time strengthened the via
Hercutis, the low reef between the Lucrine and the sea, by an
artificial dyke (hence clausus) to prevent the waves from break-
ing over it as they did in heavy gales. The lake Avernus thus
formed a deep, landlocked harbour. clausus all, cf.
Livy 30. 24. 9 insula ea sinum ab alto claudit. iimbroso.
The steeps overhanging the Avernus were formerly covered with
dark woods; cf. Sil. It. 12. 123 turn tristi nemore atque wnbris
nigrantibus horrent. They were felled by Augustus 1 order; see
Servius on V. Aen. 3. 442 Atierna sonantia siluis. lndit,
'sports, ripples': usually alludit, which has been conjectured.
If all. be the right reading, we must erase the comma at the end
of the line and take ttagna as the aee. after it, for which con-
struction cf. Gat. 64. 67. pontus must be the outer sea.

2. fumlda, i.e. uaporifera Stat. Silv. 3. 5. 96; cf. Or. A. A.
1. 256 quid referam Baias praetextaque. litora uetis et quae dt
caUdo sulfur e fumat aquamf The hot springs of Baiae are
well known, and the Lucrine itself seems to have been tepid,
stagna, the Lucrine lake, in loose apposition to the previous
line.

3. Ulsenus, the trumpeter of Aeneas who is said to have
given his name to Miwwniwn Aen. 6. 234. qua with *»»»»»»•

4. sonat, with the rippling or dashing sea. Hercnlea
4 The Lucrine lake broadens out as far as Baiae. It is separated
from the outer sea by a bank a mile long and wide enough lor
a carriage to pass over. According to tradition it was Heracles
who carried it through the sea.' Strabo 5. 4. 6 (p. 245).

NOTES. IV. xviii. 183

5. mortalla urbes, so. mortalium, cf. Introd. dextra
quaereret, 'in his conquering progress through the towns of
men. 1 quaereret is not quite —peteret, which we might have
expected, but implies that, Alexander-like, he was ever looking
for something to subdue ; Yirg. (?) Gatal. 11. 53 aliam ex alia
bellando quaerere gent em 'hunt out'; cf. Lucan2. 572 territa
quaesitis ostendit terga Britannis, and Prop. v. 9. 18 bis mihi
quaesitae, bis nvea praeda bones. Compare also Fr. con-
quirir from conqvirere.

6. Thebano deo, Hercules (called deus as in rv. 1. 32), as
born and worshipped at Thebes; not Bacchus, in spite of
cynibala. There was a close connexion between the worship of
Dionysus and Heracles, as Hertzb. points out. concrepuere,
'clashed together^; Ov. F. 3. 740 aeriferae comipum concre-
puere manus. Contrast the gentleness of Keats* phrase 'the
kissing cymbals. ' The sense is — 'It was here that, when
Hercules was subduing the world before him, he was met by
the emblems of peace and festivity.' The legend is otherwise
unknown; but Hercules, as the god of hot springs, was wor-
shipped at Baiae.

7. at. ' Now all is changed. The healing springs of the
friendly deity have afforded shelter to a hostile power.' There
is an anacoluthon, Baiae resuming v. 2. cum, emphatic,
4 not without grave ch rge.' Lucan 1. 642 aut hie errat, ait,
nulla cum lege per aeuura mundus, ' attended by no law.'

8. constittt, as an archer in ambush. hostls, pred.

9. his, 'these malific influences' ; a Similarly vague use in
i. 20. 51. pressus, 'succumbing to,' prcmere of death from
malaria and other causes in Ov. E. P. 1. 7. 11 nos premet aut
hello tellus aut frigore caelum, Justin 2. 1 (ferunt) Aegyptum
ita temperatam fuisse ut neque hiberna frigora neque aestiui
soli* ardores incolas eius premerent. Styglas uoltum
demlsit In undas, 'he stooped his face into the Stygian wave,'
a phrase for dying; cf. n. 9. 26 cum capite hoc Stygiae tarn
poterentur aquae, 'were closing over your head.' The old name
of Avernus, Styx, is also alluded to; Sil. It. 12. 120 sqq. iUe,
olim populis dictum Styga, nomine uerso stagna inter eelebrem
nunc mitia monstrat Auernum; turn tristi nemore atque umbris
nigrantibus horrens etformidatus uolucri letale uomebat suffuso
uirus caelo.

10. spirltus ille, 'that noble soul'; whereas spiritus iste
leuis z. 9. 32 is *thy frail spirit. ' Lachmann's explanation,
followed fry P., .'he wanders a ghost' involves a post-classical

184 NOTES. IV. xviii.

and ecclesiastical use of spiritus. Observe how Properties
avoids mentioning the name Marcellus, and compare Virg. Aen.
6. 869 sqq. lacn. This recalls the Indian superstition em-

bodied in the poem 'The Lake of the Dismal Swamp' that the
malarious and igneous vapours playing on stagnant waters are
the souls of the departed.

11. optima, 'his noble mother,' ie. the nobleness of his
mother. No Roman lady ever deserved this title better than
Octavia. Plutarch calls her XPW a Qavfiaarov yvpcuicJs Ant. 31.

12. focos. The sacred shelter of Augustus 1 hearth was
no protection to Marcellus. Augustus had adopted him and
married him to his daughter Julia.

13. modo, with the whole sentence, not with tarn pleno
only as P. uela, the awnings over the theatre ; of course
'different from the aulaea, Georg. in. 25/ which were the stage
curtains forming a drop- or rather a raise-scene.

14. omnia gesta, 'all that was conducted': cf. i. 6. 24
lacrimU omnia not a meis. It might = * the doing of every-
thing. '

15. steterat. A bold and very vivid expression. Time
suddenly stopped for Marcellus in his twentieth year. I cannot
find any exact parallel: but the use is in keeping with the
general meaning of stare. Compare rv. 9 (10). 5 stent acre uenti y
cease to stir, Livy stab ant adulescentes * refused to move.' For
the pluperfect of instantaneous acts, cf. Livy 1. 14. 10 Mettius
inpaludem sese coniecit auerteratque ea res etiam Sabinos, 'at
once drew their attention' rather than 'diverted for a moment'
(Seeley). There is another possible, though less likely inter-
pretation, steterat may be compared with steterunt n. 8- 10 et
Thebae steterunt altaque Troia fuit *has ceased to stand,' i.e.
has fallen. So it would = 4 his 20th year was no more, it was
blotted out,' or he died in that year. Bat it could hardly = • he
had completed it.'

16. bona, * accomplishments, noble qualities': et n. S. 28
ista decern menses nan peperere bona. ortoe, • confined to
such a narrow field'; cf. rr. 1. 39 n, dies, 'tune'; so Hor.
Od. 4. 13. 16 tempora quae semel notis eondita fastis inclusit
nolueris dies, Prop. m. 7 (6). 54 sic nobis. .forsitan inclmdUt
crastinafata dies.

17. 1 mo, addressing the ambitions, Ovid
9. 105 i nunc, tolle animos etfortia facta

ftOTES. IV. xviil 185

in a day-dream ; of. Tib. 1. 5. 35 haec mihi Jingebam, ' such
were my wild fancies.'

18. In plausum, 'rising to cheer'; Phaedr. 5. 7. 28 in
p lausus consurrectumst. iuuent, ( delight you. '

19. snpera, 'outdo the drapery of an Attalus.' For
Attalicas see in. 5. 6 n.

20. gemmea, 'spangled with gems, jewelled'; of. Ov. F.
2. 74 gemmea purpureis cum iuga demit equis. lata,
' those gauds.' The statement is hyperbolical ; unless indeed
the rich tapestry used at the games was burnt with Marcellus'
dead body.

21. sedtamen. The sense seems to be : 'Death does not
single out the illustrious, but takes all.' This is some conso-
lation, but not much. hue, an ellipse which the imitator
supplies Auct. Consol. Liv. 359 fata manent omnes: omnes
expectat auarus portitor et turbae vix satis una ratis. tendi-
mus hue omnes; so Ov. Met. 10. 34; but cf. rv. 4 (5). 30 in
nubes unde perennis aqua. ordo keeps up the allusion
to the theatre.

22. mala, 'evil.' It expresses the strongest dislike; cf*
Cat. 3. 13 at uobis male sit, malae tenebrae Orci, Ov. Am. 2.
11. 1 prima malas docuit * * • Peliaco pinus uertice cacsa
uias.

23. ezoranda, 'to be appeased.' Stat. Silv. 5. 2. 94 saeuas
utinam exorare liceret Eumenidas timidaeque auertere Cer-
heron umbrae.

24. tornl, 'glowering'; so of Pluto Juv. 13. 50 Sicula
toruus cum coniuge Pluton. Virgil says of Charon Aen. 6.
300 stant lumina fiamma. publlca cumba, the skiff that
takes all ; rj tcwSokos Setopls Aesch. Sept. 858.

25. ille, the typical human being. The reference is
vaguely to the context ; cf. Introduction. Mr Beid says : ( the
typical warrior as opposed to the man of beauty and the man
of wealth,' apparently taking ille as ' this one.' ferro. For
the metaphor compare Sallust, Fragm. Hist. 1. 43 med. unum
omnibus finem natura uel ferro saeptis statuit, and Enn. It
is not from a snail or tortoise concealed in a shell, as P., misled
by the use of caput, supposes. Propertius is thinking of the
tnrres aeneae of JDanae, <fec., which are no safer against Death
than against Jove.

186 NOTES, TV. xviii.

26. mclusum caput, 'his immured life.' For the head
as representing the body cf. v. 11. 10. protrahlt. Or. Am.
3. 9. 37, 38 uiue pitu, moriere pins : cole sacra, colentem Mors
gravis a templis in caua busta trahet.

27. Nlrea, St kclWuttos arrjp vrb iXtor rj\$er rear aXXur
Aaraur fier apt/xopa UrjXeiupa II. 2. 673. exemit, * ex-
empted.' Used absolutely, ct Quint. 4. 2. 74.

28. parlt, an indef. pres. The gold dust washed down
by the Pactolus was said to be the source of Croesus' pro-
verbial wealth. opes, i.e. gold ; cf . dtuitiis el. 23. 22.

29. The poet passes from individual to national visitations,
hie luctus, 'this source of grief; i.e. death by pestilence,
II. 1. 50 sqq. Ignaros, i.e. until enlightened by Calchas ;
cf. H. 1. 92.

30. Atridae, gen. magno stetlt, i.e. Achiuis, cf. Hor.
Ep. 1. 2. 14 quicquid delirant reges, pUctuntur Achiui.
amor, ChryseU. Agamemnon's refusal to restore her was the
cause of the pestilence ravaging the Greek Jiost. There may
be also an allusion to the anger of Achilles and its disastrous
effects, which were a secondary result of the refusal. alter,
the first being Argynnus el. J. 22.

81. at, v. 5. tibl, addressing Marcellus. ^ traidt,
Mr Paley's conjecture, hss. traicis. Here, as in v. 7. 55
sqq., Propertius mentions two boats in the netherworld, one
conducting to the Elysian fields and the other to the infernal
regions. So Hegesippus, Anth. Gr. 7. 545 ttjp &t6 wpKaiys
iv&iZid <pcuri k4\€V0qw 'E/ytyr root dyadobs els 'Pada/uxWtar &y*ir.

82. hue with qua v. 83. animae, gen., as we see
from the imitation in Ovid M. 13. 487 quae corpus complexa
animae tarn fortis inane; cf. also Hor. Od. 3. 11. 23 inane
lymph a e dolium, and Boby 1336. portet, P. for ms. por-
tent. The corruption arose from the copyists taking animae for
'angels' ! oorpus, 'thy body void of breath': really his
Manes. But these confusions are very common; cf. Or. Tr.
3. 11. 25 quid inanem proteris umbramf quid cine rem, saxis
bustaque nostra premis t and v. 11. 20 n.

33. Claudius, M. Claudius Marcellus, who took Syracuse
212 B.C.

34. Caesar, the Dictator, his ancestor by adoption as
Marcellus by descent ah humana via, i e. ab kominum
uia. So Keats speaks of ' human shores.' There is a very

J

NOTES. IV. xviii. 187

strange use of the adj. in. Hor. Epod. 5. 88 uenena magnum
fas nefasque non ualent conuertere hum a nam uicem, 'like
mere men.' The precise meaning of via is doubtful. It hardly
= * the way of death ' as Hertzb. takes it, but rather ' the ways
or haunts of men.' Cf. Horn. H. 6. 202 rdrov dvdp&iruv
dXedptav. It is very possible that there may be an allusion
to the tombs that lined the great roads from Borne, espe-
cially the Appian. There is a curious passage in Seneca in
his satire on Claudius (Apocolynt. 1. 2), which refers to a
tradition of the apotheosis of the two first emperors which has
been nowhere else preserved. 'Ask him who saw Drusilla
going to heaven. He will tell you that he saw Claudius wend-
ing on his way "with uneven steps" (non passibus aequis).
Will he, nill he, he must see all that is done in heaven.
Appiae uiae curator est qua sets et diuum Augustum et
Tiberium Caesarem ad deos Use.* cesslt in astra. The

Romans did not make the same strict distinction as the Greeks
did between heaven, the abode of the Gods, and Elysium,
the paradise of the under-world. Their heroes and their
poets might attain to heaven itself. So Ennius says mi soli
eaeli maxuma porta pate t, and so Cornelia (v. 11. 101) moribus
et caelum patuit: sim digna merendo cuius konoratis ossa
uehantur auis (in the last line she is thinking of Elysium).
Hextzberg has a curious idea that Propertius is alluding to a
back way to heaven from Elysium, which he finds in the Aiot
686s of Pindar, 01. 2. 77, and in the *Xt/*a£ Fragm. 7 totI
xXlfJutKa <T€fjipdp OuXvfiirov Xnrapdv kol8' bbbv, and which he says
is expressly mentioned by Quintus Smyrnaeus.

IV. xxiii.

Introduction. -

This subject of this poem is the loss of some writing tablets
of Propertius. He had sent them with a message to Cynthia,
and they were lost on their return with the answer. The poem
is filled with lamentations for their loss, conjectures about the
message which they contained, and an offer of a reward for
their recovery. There is no clue to the date.

1. ergo, cf. el. 7. 1 n. tarn doctae, i.e. 'on which

so much' poetry had been written, ' both of Cynthia's and
Propertius'. doctae , as in Hor. Od. 1. 1. 29 do ct arum hederae
praemia frontium. For tarn x. 16. 18 n. nobis, a pathetic

dat. , ' woe. is me.' Cf. i. 16. 18 mihi.

188 NOTES. IT. xxiii

2. parlter, with dat. Livy 88. 16 pariter ultimae gentes
propinquis. tot Dona, 'all those treasures'; a vague
expression for the kind message written on the tablets. Con-
trast the use in el. 18. 16.

3. manibus, we expect the gen. But see in. 5. 7 n.
detriuerat usus, strikingly like Hor. Ep. 2. 1. 92 quod legerti
tereretque uiritim publicus usus,

4. non slgnatas, even though not stamped with my seal
habere fldem, ' to be believed, carry authority ' : but rv. 5 (6).
6 * to be loyal/ Mr Beid well compares Gic. Arch. 9 cum
Qabini leuitcu omnem tabularum fidem resignasset,

5. sine me, i.e. without my writing anything; cf. Stat.
Silv. 4. 9. 9 noster (so. libellus) * • praeter me mihi comtitit
decussi. puellas, indef. plur. * a maid'; so n. 7. 15 n.

6. The sense seems to be similar to that in Mart. 14. 8
nondum legerit hos licet puella, nouit quid cupiant ViUlliani.
dlserta, 'speaking': i.e. their very silence is eloquent Ov.
K. P. 2. 5. 51 dumque silcns adstat, status est uoUusque
diserti.

7. flxum aurum, gold plates, such as were subsequently
used in the consularia diptycha or the tablets which the
consuls under the Empire distributed on entering office ; Claud.
Stilich. 2. 846 and Rich Diet. s. v. diptycha. caras, ' pre-
cious' in a double sense, as either 'costly' or 'treasured.'
Their value was not a commercial one.

8. buxo, a Propertian abl. of attendant circumstances;
see Introduction. ' Their wax was discoloured and their wood
was common box.*

9. qualescumqne, absolutely rv. 1. 30 n. fiddles,
'they always did me true service 1 ; so Ov. Am. 1. 11. 27 fidas
sibi Naso tabellas dedicate and Hor. Sat. 1. 2. 30, quoted
on i. 16. 10.

10. efTectus =effecta, ' results': rare in plur. as in Quint
1. 10. 6. promeruere, 'earned': cf. Cic. Mur. 34. 70
out promerendi aut referendi bentficii locum, Suet CaL 3
promerendi awtoris mirum et efficax studtum.

11. fuerint mandate, 'had been entrusted to': obaem
the douhle past and see i. 16. 1 n.

IS. lent*, 'cold one': cf. i. 6. 13 a y pert*tri fmu lentns
mwunrt potest, * love with phlegm.' qponiam. We expee:

NOTES. IV. xxiii 189

quod or quia, but of. Bell. Afric. 42 non est utia ratio propius
accedendi eo die ad oppidum quoniam ibi praesidium grand*
Numidarum esse cognouerat.

13. nesdo quae, contemptuous ; cf. i. 8. 3 quicumquest.

14. non bene, * unfairly ' : non bona, the reading of some
Mss., would stand ; cf. in. 30 (24). 24, and for the accumula-
tion of adjectives the Introd. lads, a striking instance of
Fropertius' habit of working round an idea. The point is his
believing the charges, not his disseminating them, which would
be a secondary eifect. P.'s rapis however is not necessary.
See the Introduction. For the verb cf. ix. i. 77 iace uerba,

15. dlxtl, Cynthia, in the letter. uenies, the fut.
assumes something will be done, as Hor. Ep. 1. 7. 71 ergo post
nonam uenies; cf. Boby 1589, 1591. cessabimus una,
* keep holiday together'; cf.. i. 11. 1 te. mediis cess ant em,
Cynthia, Bods; i. 6. 21 nam tua non aetas umquam cessauit
arrwri. So in v. 4. 47 eras, ut rumor ait, tota cessabitur urbe
(Mr Palmer's emendation).

17. uolena. mss. dolens, which may be kept and explained
either as 'indignant,' cf. irascor, v. 12, or as 'under
the pain of passion, 1 cf. Oat. 2. 7 solaciolum sui dolor is.
nolens however goes better with the context: it should be
taken with reperit, 'devises if she has the will/ rather than
absolutely ' complying ' with her lover's request to come. re-
perit, cf. Lucr. 3. 420 reperta labor e carmina.

18. ducltur, 'passes': Lachm. and the edd. read dicitur
from G. They do not however explain how garrula hora
is to be explained or justified. P.'s ' an hour for a chat ' is
hardly possible, nolens, v.. 17, seems to have caused them to
miss the general sense, which is this: 'Cynthia sent on the
tablet some of the pretty, sparkling nothings which a clever
girl can invent, if she chooses, when she meets her lover.'
garrula, 'spent in chatting.' blandls dolls, 'a stealthy,
pleasant meeting': P. well compares icpfaptoi oapurpol Hes.
Op. 789. drjvea is used in a similar connexion, Apoll. Bhod.
3. 661. [Baehrens reads dicitur... notis {ex conj. Font.), and
compares Ov. A. A. 3. 624.]

20. duras, as the property of a 'hard' man. There may
also be an allusion to their heavy binding and stout clasps, as
Hertzberg thinks. ephemerldas, 'day-books.' This is the
fate Ovid invokes on his offending tablets in a passage strongly
coloured by this, Ov. Am. 1. 12. 23 aptius hoe capiant uadir

190 NOTES. IV. xxiii.

monia garrula cerae quas aliquis duro cognitor ore legal,
inter ephemeridas melius tabulasque iacerent in quibus ab-
sumptas fieret auarue opes.

22. diuitiis, i. e. antrum, the general for the special ; d
Tib. 1. 1. 1 diuitias alius fuluo sibi congerat auro. Or.
F. 4. 136 aurea marmoreo redimicula soluite collo: demite
diuitias. llgna, so Ov. 1. c. y. 7, dijiciles, funebria ligna,
tabellae. retenta uelit, for this construction see Boby
1402.

23. Here again Prop, is strikingly like Horace, Sat. 1.
10 fin. i puer, atque meo citus haee subscribe libello.
columna, on some column in a portico, &c. amongst the
gladiatorial show-bills and notices of auctions : see Beck. Gall.
Sc. iv. n. 8, who quotes Dig. 47. 2. 43, solent plerique (who
want to advertise) hoc etiam facere ut libellum prop on ant,

24. Esquiliis. This would be after Maecenas had
and laid them out ; see Hor. Sat. 1. 8 esp. 14 sqq. u^uMfctt t
Esquiliis habitare salubrious. J\^- ■ *7 "' '

Introduction. J • ~ -?\

This poem and the following are evidently very closely
connected: and in several mss. they appear as one. They
both contain allusions to passages in previous poems expressing
his attachment to Cynthia. The present one is a recantation
of his praises of Cynthia and the love that elicited them : the
second is couched in a more menacing style and points oat to
Cynthia the approaching misery of a loveless old age. Whether
they originally formed the conclusion of a book or not, they are
very appropriate to that position : see notes on w. 2, 5, 9, 10,
11, 12 and xxv. 9, 10. The date is B.C. 23. See Introduction.

Argument.

Your proud beauty is powerless now (1, 2). I am ashamed
at last of my madness. The senseless passion which resisted
the advice of friendship and the power of witchcraft is gone
(3 — 10). Of my own accord I unsay those mad protestations
(11, 12). I was a helpless prisoner once (13, 14). Now I am
free and safe (15 — 18). Henceforward Good Sense shall be the
divinity that I worship (19, 20).

NOTES. IT. xxiv. 191

1. falsa, 'baseless': i. 8. 29 n. xnnlier. Observe the
change of address. She is now no longer mea uita or even
Cynthia, bat merely * woman/ a term of reproach as in Ter.
Hec. 2. 1. 17. flduda formae, Ov. M. 4. 687.

2. oculis mels, by the capture of my eyes ; see i. 1. 3 and
the Introduction.

3. tales, i. e. so blind and abject, The reference is pro-
spective and to the following line.

4. pudet, me is omitted. Prop, frequently omits the per-
sonal pronouns when they can be easily supplied ; of. v. 6 and
i. 1. 23 n. and the Introduction.

5. TOlTtam uarla figura, 'a harmony of diverse beauty,'
as depicted in n. 3. 9 sqq. ; not, as P. suggests, = ' compositam
partly real and partly made up/ a grotesque idea.

6. ut. We might have expected cum, since the ' thinking *
is prior to the * praising.' Here the inference might be ex-
pressed at length thus : *I praised your beauty extravagantly,
so that we had a case where love thought you something that
you were not.' Mr Munro suggests that ut means 'although,'
as so frequently in Ovid ; but then we should have expected ut
non esses quod putaret amor, esse, so. te. Comp. Theocr. 6. 18
if \yap ipwri roWdtftr, t c3 Ho\v<pr)(X€, rd fj.rj jcaXd iraXd
W^aprac. A similar turn of thought in Ov. Am. 3. 14. 14
teque probam, quamuis non eris, esse putem.

7.' totlens. Where ? It is not necessary to suppose poems
are meant, though it is more natural to do so. In this case
either we have lost the poems in question or the poet's memory
has failed him. In n. 3, where the poet is rapturous on
Cynthia's charms, we have expressions which may have formed
the kernel of the present passage, v. 12 utque rosae puro lacte
natant folia, 43, 44 sine illam Hesperiis $iue Mam ostendet Eois
uret et Eoos wet et Hesperios (like the warm Dawn). False
echoes and loose references are not unfrequent in Propertius ;
see the Introd. Boo, * the dawn ' : Yirg. Aen. 3. 588 postera
iamque dies primo surgebat Eoo and elsewhere*. P. rightly
* the blush of morning.'

8. quaesltus, 'artificial,' lit. 'hunted up'; of. Ov. A. A. 3.
199 scitis et inducta candorem quaerere creta. sanguine
quae uero non rubet, arte rubet. =f alius candor x. 2. 19.

* I hare shewn that this is the meaning of Ecus in this, and other passages,
In a paper In the Transactions of the Cambridge Philological Society for 1880.

i

192 NOTES. IV. xxiv.

candor, the clear bright white of the skin, which sets off tins
roseus color. It is clear this is the meaning from the other
passages where Fropertius shews his delight in such contrasts,
i. 20. 38 Candida purpureis. mixta papaueribus and n. 3.
9 sqq. (of his mistress) nee me tarn fades quamuis sit Candida
cepit (Ulia non domina sint magis alba mea), ut Maeotica nix
minio si certet Hibero utque rosae puro lacte n at ant
folia; in Ov. also (A. A. Lc.) the red and white are men-
tioned together. The candor would be produced by white lead,
ceru88a f or by chalk (Ov. 1. c).

9. quod, 'the fatal passion which.' mini, ' from me':
literally ' for my benefit'; cf. Val. F. 3. 491 Pallada... fallen
prima molitur caroque dolis auertere fratri; cf. Stat. Lc.
on iv. 18. 23. patrii amid, alluding to i. 1. 25. auertere,
here of 'removing' rather than averting a danger.

10. eluere. This line is partly a reminiscence of Aen.
6. 741 aliis sub gurgite uasto infectum eluitur scelus, partly
a reference to i. 1. 19—24. Thesnala, i. 1. 24, 5. 6,
notes. Ov. imitates Am. 1. 14. 36 non anus Haemonia
perfida lauit (te) aqua. uasto marl. We naturally think
of the ' multitudinous seas ' of Shakspere, Macbeth n. 2. 61.

11. haec with uerba, the usual attraction, though the
words are not usually so widely separated. ferro.. .igne.
Again a reference to i. 1, v. 27 foxtiter et ferrum saeuot
patiemur etignes. noncoactus, of my own free will, with-
out being forced by these drastic remedies-. P. misses the sense
in paraphrasing ' without being put to the torture which I had
then to endure.'

12. naufragus, an allusion to i. 17 where he regards his
shipwreck as a punishment for leaving Cynthia. uerba,
i.e. ( mere words,' empty breath, as in the phrase uerba dare.

13. correptus, di>ap*a<TdeLs, ' seized and hurried off.'
aeno, 'the torturing caldron': a bold metaphor. Love cooks
his victims for his own repast. Cf . Meleag. Anth. Gr. 12. 92.
9 ovTaffd' iv K&KXei, rOipeeB' inroKcudjxepot wvp, dicpos 4tcI yfwXV
iffrl fidyeipos tpws so id. 12. 1, 32. 5 ml <j £t\ rvp £<rripre. So
in Prop. iv. 5 (6). 39 consimili imp o si turn torquerier ig ni.

14. Ovid imitates E. P. 3. 2. 72 euincti geminas ad sua
terga manus and Am. 1. 2. 31 mens bona ducetur manibm
post terga retortis. The metaphor in uinctus is not uncom-
mon, Meleag. Anth. Gr. 12. 119. 4 K<xl fxe irdXw Sijcat tow cow
dyeis (ct correptus) Uerav.

NOTES. IV. xxir. 193

15. coronatae. On reaching harbonr the prows of the
vessels were adorned with garlands; cf. Virg. G. 1. 803, which
perhaps Propertius has in view, ceu pressae cum iam por-
tum te tig ere carina e, puppibus et laeti nautae imposture
coronas. So of the boat conveying the blessed to Elysium
v. 7. 59. For the metaphor cf. Meleag. Anth. Gr. 12. 167. 3
X€*-J*cdv€i &* 6 fiapv Tvctaat rodot' aXXd fi 4s op/xor &£ai top
rat/ray Kvrpldos iv reXdyet. It is common in Cicero,

16. Syrtes. Cicero warns us against a use of this word
in oratorical metaphor as too farfetched, de Or. 3. 41. 163
uidendum est ne longc simile sit ductum. ' Syrtim patrimoni ' ;
scopulum libentius dixerim.

17. feast, 'weary, 1 with toiling on the sea; so in Virg.
Aen. 1. 168 fessas naues, 3. 85 da moenia fessis and elsewhere,
reslplsclmus, properly * recover consciousness' (cf. sapit in.
5. 26); as in Plant. Mil. 4. 8. 24. Here metaphorically 'to
be again in one's right mind.' So Ov. Am. 1. 10. 9 has nunc
timor omnia abest animique resanuit error,

18. uolnera, so Meleag. Anth. Gr. 12. 80 rl <rot rb
veirardZv "Epwro* rpavfxa bia <nc\ayx 9wv aSOis dpa<f>\£-
yerat ; ad sanum, ' to a state of health.' Cf. Phaedr. 5. 7.
12 ad sanitatem dum uenit curatio. So uanum for uanitas rv.
5 (6). 5, in. 8 (7). 45. Compare Soph. Phil. 83 clt arattet (for
els or aide lay). colore with ad sanum, ' closed and healed.'
The whole phrase =consanuere. Cio. Fam. 4. 6. 2 nunc autem
hoc tarn grout uolnere etiam ilia quae consanu isse ('healed
up ') uidebantur recrudescunt.

19. mens bona, called also simply mens. 'Good sense'
was really worshipped as a goddess at Borne ; and her personi-
fication is a good example of the concreteness of the Roman
mind which could only conceive of abstractions as persons.
Thus they, built temples to Fides, Concordia, <fec. Her temple
on the Capitol was built in fulfilment of the vow of T. Otacilius
after the death of Flaminius at Lake Thrasimene ; Livy 22. 9.
10, 10. 10, Ov. F. 6. 241—6 Mens quoque numen habet. Menti
delubra uidemus uota metu belli, perfide Poene, tui. — spem metus
expuleraU cum Menti uota Senatus suscipit et melior protinus
ilia uenit. si qua dea's, what the Spectator calls the 'if'
inferential,' not the 'if' dubitative. ^ In sacraiia dono, a
pregnant use of in; 'take myself as a gift to your sanctuary.'
Cf. el. 9. 60 n. So Greek cfc 'Afli^aj dXlvKtcOai ' to be taken
and brought to Athens.' Claudian just inverts the thought, iv.
Cons. Honor* 256 inconcussa dabit puras sacraria menti.

p. P. 13

194 NOTES, IV. xxiv,

me. A picture of the person saved from any danger or
calamity, deposited in the temple of the God to whom ht
ascribed his safety, was a common kind of donarivm, Gf. Jar.
12.27.

20. exciderant. There is no reason for changing the hs.
reading. It is the common Propertian pluperf . snrdo looL
Cf. in. 8 (7). 47, 48 non semper placidun periuroi ridet amanta
Iuppiter et surda neglegit aure preces.

rv. xxv.

Introduction.

It is almost certain that this like the last refers to the
same final parting. Cynthia's fickle and passionate conduct
had thus produced the long-expected result, and her faithful
slave was emancipated from his bondage. The language is
cold with a coldness that- shews the last spark of affection is
extinct. Even the tears (v. 7) are only a tribute to old asso-
ciations, only the persistence of habit in the old channels of
emotion. To us the poems seem not only cold but cold-
blooded; and the modern feeling recoils against the taunts of
faded beauty and the desire for revenge, as unworthy and un-
generous. But the ancients had no chivalry ; and the expres-
sions of Propertius are more pardonable than the exultation of
Horace in similar circumstances (Od. 4. 13), as his feelings
were warmer and had been wounded more deeply.

Akgument.

Once all the town mocked me for my fidelity to you. Now
all is over (1 — 4). Your tears cannot move me (5, 6). My own
tears may flow; but this will not shake my purpose, for this
parting you are to blame (5 — 8). I have done with my
passion and its infatuated utterances (9, 10). For you, a love-
less old age awaits you when you will suffer yourself as yon
have made others suffer. This is my prophecy and my hope
(11— end).

1. Blsus eram=7Aws rjv. Ov. F. 1. 438 omnibus ad luxu
lamina risus erat; cf. i. 5. 26 n. It goes with inter conuini*.

posltis mensis, i. e. set beside the guests, brought in.
Originally the tables were changed with each oo.urse, then the

NOTES. IV. xxv. 195

trays, fercula, which were set on them, only. Hence mensa is
used for a ' course 1 as in mensa prima, secunda. Compare Cio.
Att. 14. 6. 2 apposita secunda mensa and Prof. Mayor on Jar.
1. 137.

2. Ovid Her. 9. 48 et mater de te quaelibet esse potest
is a reminiscence of this line.

4. querere, 'reproach yourself for losing, bewail the loss
of.'

5. sum captus. I have learned to mistrust them by being
deceived: as the Trojans were Virg. Aen. 2. 196 captique dolis
lacrimisque coactis. ab arte. The ab adds little to the
sense. It just points out that the ars is the source, rather than
the instrument of the deception. Cf. Tib. 1. 9. 66 ab arte,
Prop. iy. 2. 23 a b aeuo excidet, and Introduction.

6. ab insldlis, apparently for ex insidiis. See Introd.

7. flebo, cf. ii. 5. 15. ego, see Introduction. In-
lurla, 'sense of wrong.' hi. 8 (7). 31 nullane sedabit w©«-
tros iniuria fletust

8. tu, ' You, not I' P. bene oonueniens 'well match-
ed,' Cynthia and Propertius being suited to each other. So
of agreement between husband and wife Afran. 52 adulescentU
optimas bene conuenientes, bene Concordes cum uiris, Suet.
Tib. 7 uxorem bene conuenientem, iugum, cf. i. 5. 2.

9, 10. In these verses the poet alludes to passages in his
poems about Cynthia. In 10, n. 5. 22 nee me a praeclusas
J'regerit ir a fores is clearly referred to. 9» I think, is a refer-
ence to 1. 16. 13 where the door says has inter cog or grauius
deflere querelas, supplicis a longis tristior excubiis. It is
no objection that the disconsolate lover says the door does not
pity him. verbis = querelis, i. 8. 22 n. tamen, sc.

manu quamuis irata, tamen nonfracta ii. 5. 5 n.

11. celatls 'hidden': i.e. unnoticed; cf. Hor. Od. 1. 12.
45 crescit occulto uelut arbor aeuo, Juv. 9. 129 obrepit non
intellect a senectus. Others take it ' disguised/ i.e. by the
toilet, Phaedr. 2. 2. 4 c elans annos elegantia; but this is less
appropriate. grauis, bowing you down with its weight.

12. formae with ueniat, cf. Ov. A. A. 2. 117 et tibi iam
uenient cam, formose, capilli; iam uenient rugae quae tibi
corpus arent, though sinistra might take a dat. Virg. G. 1.
444 satUque Notus pecorique sinister,

13—2

196 NOTES, IV. xxv #

13. capias, ' desire' and desire fruitlessly. a> stlxpa.
Prop, has Tibuilus in view 1. 8. 45 tolUre tunc curast albo* a
$tirpe capillos.

14. a, 1. 1. 38 n. increpitante. For the oonstr. 're-
proach you with your wrinkles 1 cf. Yal. Max. 3. 3. 2 fin.
(quoted on in. 21. 15) and for the general sense Callim.
Anth. Gr. 5.23tjto\it}5£ omtIi? drafiprpct radra ere T&rra K6/uq.

15. fastus superbos 'haughty scorn': fastus and its con-
geners are very common for rejecting a lover's advances. For
the whole passage compare Hor. Od. 1. 25 which Propertius
seems to have read.

16. facta, i.e. done to you.

17. cednlt, of prophetic utterances, oracles being usually
given in verse. mea paglna. There are holder expressions
in hi. 32 (26). 87 haec.cantarunt 8 eripta Catulli, and 89
haec etiam docti confessast pagina Calui. fatatts dlrms,
'this ominous doom': for dirae as subst. cf. Tib. 2. 6. 53 ha*
tibi, lena,precor diras,

18. euentum, « the end awaiting your beauty,' 6t dropi-
ffcrat. dljce, ' learn the lesson of fear/ which is now Btrange
to you; cf. el. 10 (11). 8 tu nunc exemplo disce timer e meo*

V. ii.

Introduction.

This is an archaeological poem on the worship of the God
Vertumnus and the derivation of his name. It is pat in the
mouth of the God himself, who is supposed to be addressing
a bystander near his statue. There were several statues of
Vertumnus in Borne: but the one meant here stood in the
Vicus Tuscus (Varro L. L. 5. 46; cf. v. 50) near the Ve-
labrum (v. 7), and commanded a view of the forum Romanum
(v. 6). Asconius, cited below, says that it was at the end of
the Vicus Turarius (the later name of the Vicus Tuscus) close
under the Basilica (Iulia) as you turned to the right. See also
Mr Burn's Borne and Campagna, pages 21, 98, 277.

The origin and meaning of the worship of Vertumnus
are involved in some doubt. The etymology of the word is
dear. It is a. participial formation from root uert, and is fox
uertomenus {rrpapofuvos). .The suffix reappears in the second

NOTES. V. 5. in

plur. passive, eg. ■ eili s Ms* ant in dUammm* Ac Thus it
means ' t inning , 1 'ebanging* and, as & snbstaxttive, & «*t»ww*
on horseback, a somersssfe-snxaer <t. 36*. The god swans
chiefly to be a. sjmbol of the revolv ing spawns and their
changing products, and tans aypeniB as a Lactxn Proteus whose
varioas shapes are drnriihe d in our aoast. Henee Euan call*
a man -who was the J TT <i>LlL * ** wnatale tcvrpKrckBsi I>r-
tuntni* quotqwot smmt asaat iaifsu (Sat. 2. 7. 14 u Besioes
thisheisthegodofcxmnMe^AKxm.Verr.l.l-5^1^1,p.l^
Vortumnus flattest dan imnertemdarnm rcrmwL, ie. a^rca-
taroe, a god of 'Change. PreUer (^om. Myth, p. 396 ( now-
ever thinks this has arisen from his statue being in the
Vicus Tuscum, a street foil of shonsnepers. As a God of the
seasons and their fruits, he was associated "with Pomona (see
the myth in Ov. H. 14. 623 sqq.). His worship was a genuine
Italian cult; and if the statement that it was brought from
Etrnria is not a misconception based on the name Vicmt
Tuscus, it only shews that there was an Etrurian divinity
closely resembling the Sabine and latin Yertumnos.

Stranger, listen to my origin (1, 2). A Tuscan born, I am
not ashamed to have left my Volsinii for Borne (3 — 6). Is my
name derived from the turning of the stream (7 — 10), or the
turning of the year (11, 12) as the offerings of its fruits to me
declare (13 — 18)? No. I am named for my power of turning
gracefully into every shape (21 — 10). 1 must not forget the
fruits of the garden, which especially characterize me (41 — 46).
I came with my countrymen of Etruria to Help Borne in her
victory over Tatius (47— 54), and may I always see her citizens
passing before me (55, 56). To conclude (57, 58), I once had
a rude chopped statue of maple. But Mamurrius came and
cast me in bronze. All honour to the workman (59— end).

1, 2. *Thou who dost marvel at the many shapes one
body can assume, hear the pedigree that sets forth the god
Vertumnus.' tot In uno corpore forma*, i.e. so many

successive changes in the exterior without change in the per-
sonality. We might have expected species, as forma is more
commonly used of a natural or stable form. But to the harle-
quin God all his shapes are equally natural. signa pa-
tenia, the hereditary marks, the marks of his origin. To
understand this expression, we must remember (1) that patema
is not limited in its use to « parentage/ but inoludes 'oountry'

198 NOTES. V. u.

also as in Hot. Ov. 1. 20. 5, and (2) that with the
the names of things were signposts to their nature, and that
etymology consisted in tracing the real thing (trvtxov) in the
name on which it was stamped. Hence signa t notat (v. 44).
And hence notatio is used for etymology in Cicero, Topic. 8.
85 multa etiam ex notatione. ea est autem, cum ex ui nomtnit
argumentum elicitur quam Graeci irvfioXoyiay uocant, id est
uerbum ex uerbo, ueriloquium, nos autem, nouitatem tterbi turn
satis apte fugientes, genus hoc notationem apprllamus quia
sunt uerba return notat. itaque hoc idem AristoteUs <rtf/i£dXor
appellat quod Latine est not a. Compare also Acad. 1. 8. 32
(Beid).

3. orlor, not the historical or, as it would be better called,
the pictorial present. The tense implies that the effect of the
event continues into the present. It is not uncommon with
verbs of begetting, &c; cf. v. 1. 77 me creat Archytae stiboles.
nee, * and yet I do not regret.' For examples Bee the lexicons.

4. VolslniOB. In prose the adj. would be VolsinitnsU.
Volsinii, the most powerful city in Etruria, was razed by the
Bomans in b. c. 280. The inhabitants were compelled to mi-
grate to a site on the plain, the present Bolsena. The spelling
of the name is doubtful. proelia does not refer, as at first
sight it might seem, to this war, but to that in v. 51. foeos,
♦my Volsinian home'; cf. n, 1. 29 euersosque focos antiquae
gentis Etruscae. Propertius seems to have sympathized keenly
with the fate of Northern Italy.

5. haec. 'Here (i. e. in Borne} is the throng that delights
me.' templo, where I should not be able to see the
Bomans pass. eburao, adorned with ivory; which with
gold was often used on the doors of temples and on their panel-
led roofs; cf. in. 29. 1, 8. Eomanum seems to carry a
double emphasis 'the forum of Borne' as distinguished from
foreign ones and the forum Eomanum as distinguished from
later for a.

7. Iter faciebat. The moving of the river-God is confused
with the movement of the stream. It seems strange to us that
the Bomans did not see the absurdity of such expressions:
cf. iv. 3. 45 n.

8. A reminiscence of Tib. 2. 5. 83 at qua Velabri regie
patet, ire solebat exiguus pulsa per uada linter aqua*

. 9. tantum concessit, * granted such liberal room.' It is
hard to. say whether Prop, intended concessit to be act. .'made

NOTES. V. ii. 19d

such sacrifices for,' or neut. 'retired so far for,' tantum being an
ace. of space as in Ter. Enn. 4. 4. 39 concede istuc paululum.
alnmnlB 'his foster children.' A river is most valuable to a
community in fertilizing their land, watering their flocks and
affording them means of transport.

10. Vertamnus. Ovid adopts the derivation from uerto
amnem F. 6. 409 nondum conueniens diuersis iste figuris nomen
ab auerso ceperat amne dens. I have adopted P.'s suggestion
that here, and in v. 12, the name should be spelt so as to shew
the etymology, the mss. having Vertummu in both verses.

11. uertentis annl, 'the turning year': i.e. the year
throughout its course. The firstfruits of every season belong
to Yertumnus. uertens is a reflexive use as in Hirtius ap. Cic.
Phil. 13. 10. 22 intra finem anni uertentis 'the current year';
Juv. 7. 242 cum se uerterit annus. praeceplmus 'take
first,' as Lucr. 6. 1050. For the per/, in repeated actions see
Roby 1717.

12. 'Men believe I claim the offering as Vertannut? The
stress of the sentence is on the gen. creditor, mss. credidit.
sacrum, i.e. the fruits so offered.

13. prima mini, a double emphasis. 'The first cluster
that changes with purpling grapes is mine* uartat*
changes colour, being purple above and green below; the
regular word, Colum. 4. 20. 4 uariantes adhuc et acerbae uuae;
cf . Hor. 1. c. inf. The verb is neuter as in n. 5. 11. Uuen-
tibus, a proleptio use, reminding us strongly of Hor. Od. 2. 5.
10 iam tibi liuidos distinguet autumnus racemos purpureo uarius
colore. The following words have been misunderstood by the
commentators who take uua as 'a grape' (or as 'grapes') and
racemis as 'clusters' which makes the expression very per-
verted, uua is a 'cluster' and racemis the separate 'grapes' on
their stalks. So clearly in Ov. M. 3. 664 racemiferis frontem
circumdatus uuis and Yirg. G. 2. 60 turpes, ambus praedam,
fert uua racemos. In the imitation in the Copa t. 21 it means
the 'stalk' sunt et mora omenta et lent is uua racemis and
bo in Columella. [See more in my paper on the Latin words
for 'grapes', <fec. Transactions of Camb. Philol. Soc. i. p. 302.]

14. coma splcea, 'the spiked ear.' coma is for arista as in
Ov. F. 8. 854 sustulerat nulla*, ut solet, herba comas, and is
naturally applied to 'bearded' corn ; spica also a aris ta, ab herba
ad spicam Cic, 'from the blade to the ear.' lactentl fruge
' milky grain': cf. Virg. G. 1. 314, 315 spice a iam campis cum
messis inhorruit (cf. coma) et cum frumenta in uiridi stipula

200 NOTES. V. a.

lactentia tnrgent a good commentary on this passage*
tumet, sc. mihi.

15. lie, sc. ante pedes m. 1. 22. dulces, Le. ripe.
This is better than supposing that it contrasts the sweet cherry,
imported from Fontns by Luc alius, with the native Italian
cornum Serv. ad Georg. 2. 18. cerasos. This would be
cerasa in prose. But the rule that the trees are fern, and the
fruits neut. is not always observed. Thus we have poma for
pomi 'apple trees/ Tib. 1. 1. 8, <fec. Gf. rubus 'bramble' for
'blackberry' Prop. iv. 12 (13). 28.

16. cernifl, like mirare v. 1, to the bystander. aesttno
die 'on summer days': imitated by the author of the Copa 18
sunt autumnali cerea pruna die. rubere, being half
ripe, mora cruenta Copa 1. c. on v. 13; Plin. N. H. 15. 24. 27.
97 moris colores trini; candidus prima, mox rub ens, maturis
niger.

17. pomosa, 'a garland of fruitage.' Fruits in general
are meant, not 'either a string of young apples or a garland of
apple blossoms' P. The present was an acknowledgment of
his patronage; Hor. Carm. Saeo. 30 spice a donet Cererem
corona,

18. plrus, cf. Yirg. G. 2. 33 et saepe alterius ramos tnt-
pune uidemus uertere in alterius mutatamque insita mala
ferrepirum,

19. 'Beport, thou liest to my harm: there is another
guide to my name.' alius, i.e. Yertumnus himself. Com-
pare the very close imitation Ov. F. 5. 191, 2 ipsa doce quae sis
(v. 20). hominum sententia fallax. optima tu proprii no-
minis auctor eris. tibi for mini (P.) is a quite unnecessary
conjecture. index, 'one to give a clue'; here an explaining
cause. So in a similar context Ov. F. 4. 393 hi Ceteris ludi:
non est opus indie e causa, sponte deae munus promeritumque
patet.

20. tu, again to the supposed bystander. modo, al-
most = ' for your part'; cf. in. 13 (11). 14 de te quodcumque ad
surdas mihi dicitur aures: tu modo ne dubita de grauitaU
mea. Neither 'modo crede' nor 'deo modo dum de ae
narrat' is to be construed, as P.

21. opportuna, 'fit, suitable': with dat. as Yirg. G. 4.
129 nee pecori opportuna seges nee commoda Baccho. enne-
Us flgurls, Ov. M. 14. 765 formas deus aptus in omuss
and Ovid L c. on v. 10,

NOTES, V. ii 201

22. Holes. The imperative, which gives in the present a
command relating to the future, has a double outlook, and in
consequence is found in conjunction with both tenses; see for
examples Roby 1571. decorus ero, 'I shall adorn it 1 : we

rather expect decebit or decora mi hi erit t but (1) it is Ver-
tumnus' suitability for all guises that is in question, and (2) it
is not unfrequent in Greek and Latin expressions of value,
fitness, <&c. for the person to be referred to the thing, not the
thing to the person. Thus cf£ios, dignw, &c. A good parallel
is Plut. Pomp. 72 [o Uo/xt^los] firjdtva irpoaeiTuv air-get fiddrjp
els top xapaffcc, vdvv rots iveai vpivuv tueLvois (then
follows a quotation from the Iliad about Ajax). So the Scotch
say a man * fits ' a coat. [Of course decorus is common enough
of persons in the sense of * handsome.']

28. Cols. Coa, a Gr. plural =K yet Ifidna, are the celebrated
transparent silks of Cos. non dura, 'not hard-hearted,

soft, impressionable. 1 As this is the only meaning of durus as
applied to persons in Prop., it is safer to explain it so here;
though P.'s interpretation 'no awkward girl' (cf. Ov. Am. 2. 4.
23 mo lliter inceditt motu capit. altera durast) is possible,
and both kinds of mollitia would be found in the wearer of
Coans.

24. quia neget* of statements which a priori we might be
expected to deny. Hence in irony and satire Hor. Od. 1. 29.
10 quia neget arduos pronos relabi posse riuos ? and in the
bitter epigram in Suet. Ner. 39 qui 8 neget Aeneae magna de
stirpe Neronem t sustulit hie matrem, sustulit ille patrem.

25. falcem, not 'a sickle,' but l a scythe 1 ; see Eich s. v.
comprlme, 'bind'; cf. Aen. 5. 556 omnibus in morem tonsa
coma press a corona, torto, cf. Virg. G. 1. 349 torta redU
mitus tempora quercu. faeno. Ovid has pillaged the whole
passage in Met. 14. 643 seqq. Yv. 645, 6 are tempora saepe gerens
faeno religata recently desectum poterat gramen uersasse uideri.

26. iurabls, Ov. 1. c. 648 ilium iurares fessos modo dis-
iunxisse iuuencos, secta, i.e. that I have been cutting.
Observe how much more exact English is here than Latin.

27. anna, compare w. 3, 53. Ov. 1. c. 651 miles erat
gladio , piscator harundine sumpta,

28. corbis, *a basket of wicker-work of a pyramidal
or cylindrical shape' Eich s. v. Ov. 1. c. 643 o! quotiens
habitu duri messoris aristas corbe tulit uerique fait messoris
imago. in, an expansion of the use of in for clothing ; cf.

fcoi NOTES, V. ii.

Virg. Aen. 6. 87 horridus in iaduUs, Phaedr. 5. a 1 curs*
uolucri pendens in nouacula, 'with a razor in his hand.' It
might have been omitted. See Introduction. pondete.

The corbis messoria was of considerable size, Gio. Sext. 88. 83
Gracchus messoria se corbe contexit,

29. sobrius ad Utes. P. wrongly «I am not easily pro-
yoked to a drunken brawl.' sobrius is a predicate, *I am
sober when I have to deal with lawsuits/ i.e. when dressed as
a lawyer. corona, the banquet wreath.

80. damabls, like iurabis, a Btrong word. The resem-
blance will be so perfect as to excite a cry of wonder. Hor.
S. 2. 8. 180 insanum te omnes pueri clamentque pueilac.
subisse, 'that the wine-fumes have stolen to your bead*;
cf. in. 23. 10. The phrase is too bold for Ovid A. A. 1. 568
ne iubeant capiti uina no cere two.

81. mitra, cf. rv. 16 (17). 80 cinget Bassarieas JLydfo
mitra comas, and see Rich s. v. furabor, appropriate it
without Bacchus' consent, personate him. The couplet is
imitated in Ov. (?) Her. Id. 23, 24 sums fidem et pharetram y fie*
manifestus Apollo : accedant capiti cornua, Bacchus eris.

83. casslbus, see Rich s. v. lmposltis, i.e. on my
shoulders; cf. v. 28. uenor, 'I am huntsman.' narun-
dlne, • the fowler's cane rod tipped with bird-lime,' Rioh a. v.
In his imitation (I.e. on v. 27) Ovid uses it of the fisherman's
rod.

84. fautor. I have adopted Herr Rossberg's conjecture.
N. has fauor, of which the Faunas of other mbs. is an attempt
to make sense at any cost. For the dat. cf . Cio. Plane 1. 1
cum...tam multos et bonos uitoi eius honori uiderem esse
fautor es, plumoso auouplo, a very bold expression, if
it is for plumosorum aucupio, * the pursuit of feathered fowL'
Sophocles Philoot. 1146 & ittaual Orjpai x a P OT ^ **** *?*!
0i)pwv suggests another explanation, viz. that aucupium like
drjpa there and Eng. 'game,' means the birds themselves.
So in Cat. 114. 3 aucupium, omne genus piscis, and elsewhere.
fautor would then mean the God ( preserves ' the game for the
sportsmen. deus. A Greek would have used Salfuar*

35. uertumnus, obviouBly a common noun here.

36. traldt, act. as v. 4. 78 traicit immundos ebria turba
pedes. alterno equo, the usual loose Propertian abL
♦from one horse to another.' The desultor or circus rider
is meant, for whom see Rich s. v. Manila Astron. 6. 85 *ec

JEJOTX V. ifc i03

the nies r s ma^&SL Sac. 3ifo L L3 fScfaaaatLs Jfiirfent itnt
dfnv cnnF fflnftni m vutut' jSMtpa? imujiw^ub jjugtrhit gon--
iere.

neuter, fine pezhsne it & aZfL.

u sgnnm. y The emptor did his bast to
jHtnwiL 3m£ his muuis 3i die eyes of the y°TfifHt
k P. pauns ant; M i iin i arru g; Hirr. OcL & &, 3iK
tine aniBWib pedlar or annmexcial traveller: <&>-

not gxrc an ay die azmra&aav L a. in. gcaflenii d&ffiatitU*
Qvl it- A. L. 4fiT wwti£ , <jr (itZ (ATminum atrntct
rfucinrff** merrm, ffiir: i L 1 35 XottAtsmn t*nto(*
itwrisris iMiisftifiir. Ifc is append to jacctRrtu*. ta\

tuhhv *£ ^ JF'3I»» 38 itfnna (mm /tut in fra/tttfau Th*
ptanl m nnirfL Ic may also be intended to »K£pi*t tot*

BwAwr «*• gJrfa Tift tft» Tatm Tnmgjirg- tmtii*,

wt in fBHEv if it goes closely with ctwtturr*,, K Wan.
Bated wmrthnw almost =* v with/ So Ftaftt*
Capk. 1. 1. 22 vs crira partem tri jw i uwiiun ad j<k?<m*»» &,•*♦,.

lit. 'without ehftngtnfl my
an. tfte other hand/

40. efeficaav, the naufet star. Tn« lasket *a» ttttftft
and poctatte. ft w used for fish and vegetables a* wvtt Ml
flowers (Bkks.TX Compare Columella 1<X 305 *t m*t+ *tpv*t**»
Am fmfoBie* meOa damtitis jfcns, e*m> feat mmim hfJtHkm
tirpicmlumferrmpmna ammitU ayeirtat*i>« ttfttta ffl&Mttx
Le. throng da? tiesfty nans raada. Tb» auUu* ^ ti*
Ojnaieeaastoawie»aMEntooditsa,T. 5fwtditt*«t *r*t*H*
dtfeam pnluere cease? tax** i.e» than the Wtttttiy

to the ton Cor

41. !■■■■! Sobs sss. lead emit* *bkh fe ee*t*M»
taoored bj Or. Tr. 4. 3. 17 esse tiki mtmmnm de •** t*M
*axiaui eurmst.

43. bartaram dosm, 'garden gilts*; Aearfw bat a epeeftl
application to the kitchen garden. Hence it ia uvea far
'greens, vegetables,' Cato B. B. 8. 2 ; of. Hot. Sat. 9« 4 1& 16
cattle faterofmo fat riceis erwit in kortu Aiarfert *rtyM»
ni/til eft tbtiat herto. probata, * choice*; eo fcefrh »r«.

Utitjiimi Plin. 16. 8. U.31, • of the moat appioved tort/

204 NOTES. V. il

43. caeruleus, dark green = liuidus Colum. 10. 389. In
Lucr. 5. 1372 of the olive green. Auct. Cop. imitates, 22 est
iunco (v. 44) pendens caeruleus cucumis, tnmido
nentre, from Yirg. G. 4. 122 cresceret in uentrem cucumis.
Colum. 10.385 utero nimium quae uasta tumescit, uentre
leges medio.

44. me notat 'distinguishes me,' i.e. shews people who
I am. So of terms Cic. Part. 11. 37 insunt etiam in temporibas
ilia quae temporis quasi naturam not ant \ and v. 2 n. Several
mas. have meat. Perhaps the true reading is uocat, 'invite
me * to use them. luhco. Bushes were used to fasten up
flowers and vegetables with, Ov. F. 4. 870 textaque composite
iuncea uincla rosa 9 where a sort of rude basket seems
meant.

45. hiat 'opens.' Ov. A. A. 2. 115 hiantia UUcl, 'the
wide-mouthed lily.' Ule, not needed for the construction,
but giving more emphasis. It singles the flower out ; cf. 1. 1.
12 n. decenter, 'becomingly'; cf. v. 22. Tib. (?) 4. 2.
14 talis in aeterno felix Vertumnus Olympo mille habet ornatus,
mille decenter habet.

46. langueat 'droops': Yirg. Aen. 9. 433 cum flos succisus
aratrolanguescitmoriens. ante, of time or space ? The
same doubt occurs in Tib. 1. 1. 14 et quodcumque mihi pomum
nouus educat hortus, libatum agricolae ponitur ante deo. It
seems better to take it ' in front,' as the crown would naturally
hang down in front, and in Tibullus we may suppose tmesis
as in Cic Off. 3. 17. 71.

47. unus, though one god, not several. uertebar, i. e.
the real derivation is Vertomnus (compare v. 21 n.). Neither
here nor in his other suggestions does the God shew himsAlf
a philologist; see introd.

48. ab euentu, 'from the circumstance, occurrence': cf.
Ov. F. 1. 59 omen ab euentu est. The use is rather strange
here as we expect some word denoting quality or habit t not
one which refers to an isolated event.

49. praemla, settlements and citizenship.

50. nomlna, the plur. is used for metrical reasons; of. Or.
F. 3. 246 qui nunc Esquilias nomina collis habet.

51. sodls armls, i.e. ' with an allied force.' Yirg. Aen. 8.
120 lectos Dardaniae uenisse duces socia arma rogante*.
Xycomedlus, 'the Etrurian forces,' a collective singular (as an

NOTES. V. ii. 205

army should move as one man) ; so Romanus, &c, frequently in
Livy and in Greek 6 M^Sos. In Eng. too we speak of the
•enemy.' The form is uncommon; but it is vouched for by
Paul. Diac. in his epitome of Festus s.v. Lucomedi, Lucomedi a
duce 8uo Lucumo dicti qui postea Lucerez appellati sunt. The
word has been Graecized like so much in the early Roman
legends. Compare Lucmon, v. 29, and the myth which made
Lucumo (afterwards called Tarquinius Priscus) the son of
Demaratus of Corinth. The legend that Romulus was helped
against the Sabines by the Etrurians under Lucumo or Lucu-
mus is simply an attempt to explain the Roman name Luceres
by the Etruscan title Lucumo a prince.

52. contudit anna, Ov. F.4. 380 pcrfida magnanimi con-
tudit arm a Iubae,

63. labentes, * wavering' or rather * giving way/ Tac.
H. 3. 23 sustinuit labentem aciem Antonius. There is no
reason to assume with P. another allusion to Yertumnus
(uertere terga). caduca x a M<"*"eroiWci, missing their aim and
falling on the ground; cf. Lucan 3. 546 emissaque tela aera
texerunt uacuumque cadentia pontum.

54. dedlsse. Observe the change from the pres. part, to
the perf. inf. The first gives a picture, • he saw them giving
way,' the second the realized single fact, ' they had set off in
flight 1 ; cf. Livy 1. 25. 8 respiciem uidet magnis interuallis magnis
sequent es, unum haud procul ab %e abe8se t i.e. his eye
singles out the important fact that the one Curiatius is near.
For the phrase terga dare rugae, cf. Ov. M. 13. 879 terga
fugae dederat. It is a good example of the way in which the
forms of speech act upon each other, or of what we may
call 'exosmosis' and 'endosmosis' in language. From the
expressions dare terga ' to expose the back ' and dare se fugae
' to turn to flight,' as in Cic. Att. 7. 23. 2, was formed a third
one 'to turn one's back to flight' in which the two were
combined.

55. dluom sator, from Virgil as in Aen. 1. 254, &c. So-
malia, emphatic as in v. 6.

56. transeat, n. 7. 9 n. togata may imply a prayer for
peace and civil concord: but the leading idea is one of pride
in the national dress; cf. Yirg. Aen. 1. 282 Eomanos rerum
dominos gentemque to gat am.

67. ad uadimonia curris, i.e. hastening to appear to your
bail, that decision may not go against you by default; compare

2rOTJES t V. \l

Suet. Calig. 89 (of one of Caligula's monkey tricks) % He Mixed
all the hired vehicles so that a large number of the litigant* lost
their cases (causa caderent), absence from the city preventing
them from appearing to their bail (occurrere ad uadimonium).'

58. non moror, i. e. I shall not detain yon long. Compare
the formula used in dismissing the Senate Capitolin. M.
Aurel. 10 nihil amplius uos moramur. The present ia also
used in the same phrase when an accusation is abandoned;
C. Sempronium nihil moror Livy 4. 42. 8. spatiifl, lit. • laps/
Gt. 6iav\oi$. Then the running over them, 'courses,' Chad
Hal. 67 sen septem spatiis circo meruere coronam. creta.
So Baehrens and Palmer with the mss. creta is the chalked
rope (linea alba, calx) which was drawn across the opening of
a race-course for the purpose of making the start fair. Hence,
as the chariots returned to the place from which they started,
it means the ' end ' of anything. See Rich s. v. Linea (4). Com-
pare Pliny N. H. 8. 42. 65. 160 peracto legitime cursu ad
ere tarn stetere. So linea in Hor. Ep. 1. 10. 79 mors ultima
linea rerum. Ovid in his imitation has meta (which some
xss. read here and which is more appropriate to raditur),
Am. 8. 15. 2 raditur hie elegis ultima meta meis. The race
consisted of seven circuits (Prop. in. 20 (17). 25, 26 nee prim
infecto deposcit praemia cursu septima quam metam triuerit
ante rota) ; and Y. says he is now running the last one.

59. Curiously like Horace, Sat. 1. 8. 1 olim truncus
eram ficulnus inutile lignum, cum faber, incertus scamnum
facere'tne Priapum, maluit esse deum. properantl, Cato ap.
Gell. 16. 14. 2 aliud est properare, aliud est festinare. qui union
quid mature transigit, is proper at: qui multa simul incipit
neque perficit, is festinat. falce ' hatchet ' = dolabra (see
Rich s. w.). It is called falx from having a crooked pick at
the back. dolatus * rough-hewn'; see Rich s. v.

60. grata, i. e. my poor appearance was not due to the

people's neglect.

61. Mamurri. This is MamnrinsVeturius, the mythical artist
who cast the eleven sacred shields for Numa, see Ov.F. 3.383sqq.
Mamurius morum fabraene exactior artis difjicilest, Mud, diccre,
clausit opus. Whether he ever existed is doubtful. At any rate
he did not cast this statue, as the first bronze one of a God was
that of Ceres which was cast from the confiscated property
of Spurius Cassius (see Pliny 1. c, Miiller's Ancient Art § 181.
4). formae is properly the mould in which the statue was
cast (compare iv. 9. 13 n.), then the form produced by casting.

NOTES. V. a 207

>f a chryselephantine statue in Cic. Or. 2. 9 Ionia forma, the
hidian Zeus. caelator, properly a * chaser ' (1. c), hut here
pparently a 'caster ' ; compare fundere v. 63. Lewis and Short
ive this as a later use but without citing examples, caela*
ira (ropcvrticq) is used for graying with the chasing tool either
n a rough cast or on embossed metal, as described on rv. 9. 13.
t does not seem to have been used lor bronze statues. Other-
ise we might suppose that Propertius is describing a small
gure of Vertumnus, chased like the ancilia which are called
%elata (Ov. I.e.).

62. artifices manna, 'your artist hand.' Ov. Am. 8. 2.
2 artifices in te uerte, Minerua, manus. terat 'bruise,
rush'; cf. Lucr. 3. 906 urgeriue superne obtritum pondere
irrae. Osea. Propertius probably regarded Mamurius
a a Sabine, the Sabines having settled in the territory for-
lerly belonging to the Oid or Opsci. But probably there is
n accessory idea, ' the rude earth ' as we might say, the Osci
eing taken as the type of an uncultivated race; cf. Juv. 3. 207
ut diuina Opici rodebant carmina mures, 'Gothic mice/
. play on Opicus and opifex, which P. supposes, is quite out
f place.

63. ' Who could cast me to such teachable use.' docills
Lmo8t=' flexible.' Propertius applies an epithet, which is
lore, appropriate to the thing made, to the uses to which it is
y be put. Hertzb. quotes Aen. 2. 453 limen erat caecaeque
yres et peruiu& usus tectorum (=peruiorum): cf. i. 2. 12.

64. ' Single the work, not single the honour on the work
estowed': i.e. it is praised in all its several aspects.

V. vi.

Introduction.

This poem was written in honour of the institution of the
idi quinquennales 1 established to commemorate the battle of
.ctium. They were first celebrated at the end of b.o. 16 by
Lgrippa, Augustus having left Borne to repair the defeat of
tollius. It was probably written for the occasion in obedience
3 a request from the authorities ; and thus 1. 77 is a prophecy,
r hich unlike the generality of such nattering predictions was

* Hertzberg warns us against confusing these with the ludi Actiaci wkicfc
ere held at Actium itselL

208 NOTES. V. vl

*
soon realized. The poem consists of three scenes: the ex-
ordium or eixpTjfila, the poet's sacrifice, i.e. the description of
the battle of Actium, and the sacrificial banquet.

Argument.

Make all ready for the poet's sacrifice (1 — 10). Apollo's
temple is my subject, and it is in Augustus' honour that I sing
(ll-U).

It was at Actium that the world met in arms. On one
side was the doomed armada. On the other the Teasel of
Augustus and the standards of patriotism (15 — 24). The
battle was set, when Phoebus came from Delos to Augustas'
vessel, attended by his sign of fire (25 — 30). He did not
come in peaceful guise, but as the God of vengeance (31 — 36).
Then he spoke. * Onward to victory, Augustus. I am fighting
on your side (37 — 40). Release your country whose sole hope
is in you. Sweep this disgrace to Borne and Latium from the
seas (41—46). Vain are their myriad oars and painted Centaur
prows (47 — 50). It is the cause that nerves the soldier's courage.
The hour of battle is come, and Phoebus aids you (51 — 54).'
Then sped his shafts. Augustus' spear followed close behind.
Home conquers through Phoebus. The woman is punished.
Her sceptre is broken (55 — 58). From his star Caesar wonders
at his offspring's valour; and all the powers of the sea rejoice
(59 — 62). She flees to Egypt and seeks a voluntary death.
Better so. One woman would have made a sorry triumphal
spectacle (63 — 66). Phoebus' monument at Actium commemo-
rates his timely help in the sea-fight (67, 68).

Enough of wars. Apollo now demands the dance and the
peaceful lyre. Now comes the banquet in the festal grove
(69 — 74). Bacchus shall stimulate the muse, and the poet
shall sing of the triumphs of Augustus, those achieved and
those to come. So will I pass the night till morning break
upon our carouse (75 — end).

1. Sacra. The poet is the priest of the Muses, zv. 1. 3 n.
nates, 'the poet,' sc. I. So Hor. Od. 1. 81. 2 quid dedicate*
poscit Apollinem uatest In speaking of themselves the ancient
writers can never keep up the third person long. Hence meoi
v. 2. Gf. el. 11. 13 n. xauentia adj.=ctyiMia.

2. et, P. ut quite needlessly. fboos, the altar-fires
before which I officiate; cf. v. 6. The language is highly
metaphorical.

XOTES. X. *i

3. cera. This is corrupt Keftker -rf li*

it could have here, 'writing tahUi' and ' wax ^—mrv" 12 s&i**-

factory. The first because w© vnt ber* scene wora w-jot

would denote permanent, not fu g iliw? «c=xosn^K. Tut utrjxii

because poets' busts seem to have bos xsaoe of zsa?t> ^r

bronze. Still wax was not Hmifafl to {**.,-. *** m.z :**** t. Ct.

I.e. on el. 11. 83). Nothing certain i? li-.-y » '^ e^r^jwacd a~

c«ra is proby. an attraction thr^rfc it* ir^^-i/* c£ or?**-

' Ixdra (P.) is a contraction without dx iuaI ltoL :rdrr. thc^rl

otherwise satisfactory, ara (Hanpti inif >ij^e* an ir*:*>c£3nx n-

metaphor, serta is the best eonjeeas*: for the sirtz. cf. hl

31 (25). 37. Mr Beid prefers fara. fUctNia. a eeruin

correttion for the ms. Pfritippris. 'Pr-ptrizis eo~pl« /**t-

feta* and CalUmaekus as his luswlnt in poetrr: w it. L 1.

certet with the dat. is poetical.

4. Cyrenaeas. CaHimachns was a i_ative of Cyrene.
ministret, v. 9. 22 terraque nan uUat Uta r.i7*istrat aq-Mi*.
aquas, x^pjrt/fa, the libation at the poeVs saezinoe.

5. costnm, an ointment made from the root of the Aplo-
taxis. Lappa (or. Auchlandia CosUu) which grows on the moon
tain slopes of the Cashmere Valley. nlaadi, ' pleasant
smelling,' with the secondary sense of ' propitiating.' See for
the first sense Lucr. 2. 847 awuuracini blandum siactaeque
liquorem, and for the second Hor. Od. 3. 23. 18 non sumptuota
b I audio r hostia. honores * offering': so Virg. Aen. 3.
178 and Ov. F. 4. 409 farm deae micaeque licet talientU
honor em detis et in ueteres tuna grana focos.

6. ter. Three, as we all know, is a mystic number. Virg.
G. 1. 345 ter que nouai circumfelix eat hostia /tur.es. lanetts
orbls, * the circling wool ' of the fillet which was wound round
the altar. Virg. EcL. 7. 64 moUi cinge haec altaria uitta ; see
the illustration in Rick s. v. uitta. For the use of orbis,
1 circlet,' cf. Juv. 10. 40 magnaeque coronae tantum orb em.

7. spargite. This was usually done by the priest,
lympfcte. The lustral water was sprinkled by means of a
branch of bay, Ov. F. 5. 677 sqq. uda Jit hinc laurits : • lauro
sparguntur ab uda omnia... spar git et ipse snot lauro rorante
capillos. recentibua arts, 'over the fresh-raised altar. 1
Besides the general metaphor, which is consistently carried
out through the whole passage, Fropertius is thinking of the
altar in the newly built temple of Apollo. carmen. My
libation is song.

8. tibia. The flute was played to drown all ill-omened
p. p. 14

210 NOTES. V. vi.

sounds. A flute-player was a necessary accompaniment at
sacrifices. He was called in Greek <TTo*8av\yjs. Mygdonlls.
An allusion to the 'Lydian measure.' The Mygdones lived
round Mount. Olympus on the confines of Mysia and Bithynia.
But their name is loosely used by the Latin poets for Lydian
or Phrygian. The primary object with a Roman poet is to
use a foreign name ; it is quite a subordinate one to use it
correctly. We must however remember in their justification
that the vastness of the Roman empire obscured the sense of
local distinctions. eburna, cf. Virg. G. 2. 193 infiauit cum

pinguis ebur Tyrrhenus ad aras. cadis, a bold extension

of the metaphor in libet, Propertius is still thinking of the
sacrificial wine. A similar comparison is that in Pindar N. 3.
76 sqq. iyw r66e roi wtfiirw fiefuy/itvov /ii\i \€vk$ oDv ydXaxn-
Kipvajxiva 8' £ep<f d/JKpiireC xbfi dolSi/iov AiciKytrip iv vvoaiatv
av\<2v. The music is to come from a Lydian 'bin' as we
might say. Cadis, the town, is a too ingenious correction,

9. lte procul, the usual address to those who were not
ceremonially pure to keep away from the sacrifice. So in
procul ite profani = Greek ixds wrns dXirpos. It is here ap-
plied to the disembodied taint of crime. alio sint acre,
a patriotic sentiment; cf. Virg. G. 3. 513 di meliora piu
erroremque hostibus ilium I The vivid concreteness of the

.idea is to be noticed. The noxae are supposed to be floating
in the atmosphere. So we speak of ' there being mischief in
the air, 1 of 'an atmosphere of crime.' noxae and fraudes
are both used of wicked deeds. But noxa brings out the actual
mischief done, fraus the malicious motive.

10. pura, 'fresh pulled,' and therefore ceremonially pure,
'clean.' Iivy 1. 24. 5 ivbente rege i sagmina i * inquit *te, rex,
posco.' rex ait ' pur am (? pura) tollito. 1 fetialis ex arce grami-
nis herbam puram attulit. We need not suppose with P.
an allusion to Apollo's name <$ot)9<*. nouom. The poet is
entering on a new vein of song ; cf. iv. 3. 26 n. mollit. A
soft carpet of bay-leaves is strewn on the ground for the poet
priest to tread on as he leads the procession to the altar; cf.
Ov, M. 4. 742 mollit humum foliis and i. 20. 22 n,

12. Calliope. She is Propertius' favourite Muse, cf. rv. 1.
54 (2. 14), 2 (3). 37.

13. In nomen, * to honour Caesar' : like Quint. 1. 1. 6 oratio
habita in sexus honor em. For the use of nomen 'glory' c£ l
7. 10 hinc cupio nomen carminis ire met. ducuntnr,
'spun': from passing the thread through the hands. For the
metaphor cf. rv. 1. 5 a.

NOTES.. V. vi. 211

14. uaces, not, as P., uaces carmine, but absolutely
'give me your leisure, attend.' Ov. Am. 2. 2. 2 dim perago
tecum pauca sed apta, uaca.

15. est, used absolutely as in iv. 7. 21 $unt Agamem-
nonio8 testantia litora euros. fugiens, 'receding' far into the
land: of. Lucan 4. 223 penitus fugiente metallo. Atha-
mana. The Athamanes were an inland tribe of Epirus'to the
N.E. of Ambracia, which is meant here (see note on v. 8). For
the form of the adj. see Introduction. portua, a land-
looked basin, a sort of Iulius portus on a much larger
scale. So Philip of Thessalonica in a votive epigram on the
Actius Apollo (cf. y. 18), Anth. Gr. 6. 251 avff &v IKtikols, iirl
&' tcrna iri/xxffov a^TTfp ovptov 'Akticikovs avvbpofiov els \i-
jjL€pas. The Ambracian Gulf (sinus) is meant.

16. condlt 'receives': a peculiar, but very poetical trans-
formation of the passive. Wherever the subject to a passive
verb is omitted or left indefinite, it is not usual in prose to
convert the passive into an active, at least not without the
addition of some other words. Thus in prose we should have
had to say murmura conduntur sinu or in sinum; and not
sinus condit; for sinus is not the real agent. A poet is not
so fettered: for asperguntur tempora sudore he can say
aspergit tempora sudor Prop.- in. 18 (15). 3. Compare also
libet v. 8, lauet v. 74 (note) of this poem. The converse is
also true. A prose writer must say pieces natant in aqua,
a poet ventures on multo piece natantur aquae, Ov. See
also Introduction.

17. pelagus, here simply of 'a wide expanse of water,'
P. an 'ocean, as it were.' So of the lake formed by the over-
flow of a river, Virg. Aen. 1. 24&pelago premit arua sonanti (and
Dr Henry's note in Aeneidea). monumenta. monumentum is
properly something that reminds us, like documentum some-
thing which informs of anything, as in Plaut. Stich. 1. 2. 6
uos monumentU commonefaciam bubulis. In cases like the pre-
sent it generally means a commemorative memorial, not merely,
as here, anything to which historical memories cling. The
plural is regular. Neither Propertius nor Ovid uses it in the
singular. Iuleae carinae, i. e. the ship (not collective the
'fleet') of Octavian, lulus' descendant. Throughout the poem
Octavian's own personal exertions are placed in the foreground.
Agrippa is not once alluded to.

18. nautarum uotls, i. e. the praying sailors : the usual
predicative use of the noun. non operosa, causing them

14—2

212 NOTES. V. vi

trouble, difficult and dangerous : with dat. as in Plin. 15. 23.
25. 93 operas a£. cibo. ula, the passage into the pelagus
or Ambracian Gulf. The allusion is to the larger harbour of
Nicopolis which was constructed by Augustus after his victory,
and which materially increased the security of ships entering it
The stormy character of the straits was notorious; so Virgil
Aen. 3. 275 etformidatus nautis aperitur Apollo.

19. nrandl manna, 'a world's battalions,' the forces of
the whole world;; so Lucan 7. 234 sanguine mundi fuso^ Magne,
semel totos consume triumphos, of the battle of Fharsalia. rmm-
dus in this sense was originally a translation of the Gr. koc^uk
the 'ordered universe' : but the use required too great an effort
for the ooncrete Roman intellect, and mundus drifted on the
one side to the meaning of 'the heavens' (see Munro's note on
Lucr. 1. 73) and on the other to that, of the world we live on
(orbi8 terrarum, oUovufrri). Prop, has it in this sense even in
the plur. v. 3. 37 e tabula pictos ediscere mundos. stetit,
'stood motionless,' like moles, refers to the unwieldy size of
Antony's galleys. Hence Virgil says Aen. 8. 691 pelago credos
innare revulsas Cy clad as aut montes concurrere montibu*
alios.

20. aula, an 'omen,' a word drawn from augury: cf. v. 1.
68 inceptis dextera cantet auif. remis, those of Antony's
guinqueremes.

21. altera, answered by h&nc in 23. Gic. Rose. Am. 6. 17
alter gladiator habetur, hie autem, &c. Qulrino, the new
Quirinus, i.e. Octavian; cf. Virg. G. 3. 27 uictorisque aruut
Quirini and so in Mart. 10. 26 Ausonio.frustrapromisse Quirino.
Teucro, of Trojan descent. Compare Iuleae v. 17. The Tro-
jans were called TevKpot just as Lycophron v. 1389 calls the
Athenians K65poi. damnata. damnare with a dat. is used
of the person in whose favour the verdiot of condemnation is
made, the prosecutor, Sil. Ital. 4. 229 ibant in Martem terrae
dominanti8 alumni damnati suptris nee tarn reditttra
iuuentus and Roby 1199. It is used absolutely of Antony's
soldiers in. 8 (7). 38 cerne ducem modo qui fremitu compleuit
inani Actia damn at is aequora militibus.

22. . turpiter. This has been misunderstood. It does not
mean 'it was discreditable in a woman to join a .war in an
unholy cause' P. But the stress is on pjla; compare Lnoap
1. 7 pares aquilas et pila minantia pilis. It was degrading
to the national Roman weapon that it should be wielded by a
woman and an Egyptian, i«e, the. al&anjce; of Antony and
Cleopatra was a scandal to Rome. ftmalneae, mb*./«w

ffOQES. V. vi. 213

nea, through mistaking the dat. ntitrtu; efr. Tantaleae manu n.
1. 66. apta, 'fitted to.' The <5onstrtfetion with a dat. in a
literal sense is rare, it is seen In Ludr. 5. 808 terrae radicibus
apH. The mbb. are divided between apta and acta. The latter
may be right, though we «houkl expect adacta.

23. nine, i.e. «on oar side' P. Augusta, i.e. Augusti.
This seems to be its earliest use as an adj. Oetavian took the
title of Augustus four years after the battle of Actium, on the
Ides of January b. c. 27 ; see Ov. F. 1. 590. Iouls, the
god of the air; Cat. 4. 20 sine utrumque Iuppiter sirhul'secun-
dus incidisset in pedetn. omine, abl. of attendant circum-
stances, Jupiter thus signifying his will. It is expanded by
Stat. Ach. 2. 9 audiit arcitenens Zephyrumque a uei ; tice Cyn~
thi impulit et dubiis pie no dedit omina uelo.

24. lam docta, now veterans in victory; conquerors in
the Mutinense bellum, in the Perutinum, at Philippi, &c.
patriae uincere suae, an assertion of Octavian's patriotic
motives; cf. Just. 2. 8. 6 quasi eibi, non patriae uicisset
tyrannidem per dolum occupat.

25. Kerens. Hie god of the sea is said to marshal the op-
posing lines, though the manoeuvre was really Augustus' or
Agrippa's ; of. Mart. Speet.-28. 7 (of a Naumaehia in the Amphi-
theatre) diemqueparat saews ratibw fera proelia Nerew*, abnuit
in liquidis ire pedester aquw. gemlnos lunarat in axctts
4 bent to twin crescent curves': of. the description in Sil. It. 14.
366 ac iam diffusus vacua bellator in unda cornibus ambierat
patulos ad proelia ftuctus, nauali claudens umentem indagine
campum. at simtti curuata svnu diuersa ruebat classis et artabat
lunato caerula gyro. Ovid has the verb in the act. luna-
uitque genu smuosum fortiter arcum Am. 1. 1. 23. Compare
the account in Dion Cassius 50. 31 ' Augustus suddenly and at
a given signal advanced with both wings of his fleet converg-
ing upon the enemy (ret icdpara iirel-ayaydk' &r^ca/^«')....So
Antony alarmed at the manoeuvre met him by advancing on
his side as far as he could.' In other words Augustus' front
was concave and Antony's convex, geminos...arcus.

26. radils, rare of reflected light; Val. Fl. 6. 517 clipei
radii 8 curruque coruscus solis aui. So radiabat v. 1. 27. plcta
tremebat, of the play of coloured light on the waters. So
Aen. 8. 677 auroque efftUgere Jhtctus. Similarly pie tus is used
of the unrea sidcra Varroap. Non. 451. 11 mem pic tus aer
feruidis late ignibus caeli choreas astricas ostenderet.

214 NOTES. V. vi

27. linquens. Observe the present part which adds to
the impression of the instantaneousness. He was leaving Deloe,
and he was at Aotium. So Stat. Theb. 9. 678 of Juno,
stantem, ( fixed, stationary '; cf . Senee. Hero. F. 15 quibusque natu
mobilis tellus stetit, so ulmllcft 'under his guardian-
ship/ not ( under threat of his vengeance* as P. prefers, whose
explanation ' that he would have punished it for not standing
by finally reducing it to its former condition of instability'
does not convey a very fearful threat to the vagrant island.

28. tulit, « bore the brunt* of the winds. Hence Apollo Aen.
3. 77 immotamque coli dedit et contemner e uentos. una,
Mss. unda; but the correction is necessary, compare Seneca Lc.
The birthplace of Apollo was unique among islands. Notos.
Horace Od. 1. 3. 14 speaks of the rabiem Notu

29. astitit, i<p€L<jT-fjK€i. His praesens numen is more
distinctly implied by using the compound; cf. rv. 7. 11 n.
super, Virg. Aen. 8. 704 Actius hate cernens arcum intende-
hat Apollo desuper. noua, 'strange,' as marking a unique
interposition. flamma. So Virgil who makes it the lulium
sidus Aen. 8. 678 hinc Augustus agens ltalos in proelia
Caesar — stans eelsa inpuppi, geminas cui temporaflammas laeta
uomunt p atrium que aperitur uertice sidus,

30. 'A strange flame shone thrice curving like a slanted
torch 1 : i.e. bent three times with a deflection like that of a
torch held slantwise, in which the flame curves upwards. The
appearance is just like the representation of the 'lightning
curls' on ancient and mediaeval monuments. It is worth
noting that fax is the usual word for a meteor. in flactm.
A fuller expression in iv. 22. 14 in fa ci em prorae pinus
adacta nouae.

31. attulerat, 'had come with': Cio. Phil. 8. 8. 23 sena-
tm enim faciem seeum attulerat^ auctoritatem populi Romani
and of. iv. 7. 60. crines In colla solutos, 'with long haii
streaming over his neck,' compare Lucan 5. 143 crines iu
terga solutos. He was not crinitus Apollo (Enn.), nor ApoUv
Citharoedus (v. 32).

32. Compare the spurious Tibullus 4. 2. 22 et testudinea
Phoebe superbe lyra and Ibis v. 2 omne fuit Musae carmen
inerme meae.

33. sed quail. For the change of construction cf. Stat.
Silv. 2. 6. 42 nee petulant acies blandique seuero igne oculi
qua lis beUis iam casside missa Parthenopaeus eraL aspcztt.

NOTES. V. vL 215

vwohpa tdwr, Propertius has translated the angry heart, x<*>-
fxevoi Kijp, of Iliad 1. 43 into the angry look. Pelopeum,

i.e. of the accursed line. Gf. rv. 18 (19). 20 in/amis stupro
stat P elope a domus. Agamemnon was the periuri Pelopis
tertius heres Gat. 63. 346.

34. egeaflt, 'drained,' l&Kivuxrev: of. Stat. Theb. 1. 87
eg est as alternis mortibus urbes. auidlfl, 'consuming,'
uoracibus: cf. in. 26. 10 (20. 56) has omnes ignis auarus
habet, auidos rogos Ov. Am. 3. 9. 28, &c. regis, the
abl. as in Statins supra. The allusion is to H. 1. 52 aUl 61
Tvpcd Koiovro daneial. Dorica castra. So Yirg. Aen. 2. 27 &c.

35, 36. Observe how this passage, both in metre and
expression, realizes the peculiar horror of the serpent's move-
ment, the slow sinuous progress through all its length. We
can almost see it 'as it crept through all its coiling rings.'
serpentem, participle, in the midst of its snaky activity.
per orbes. For the preposition cf. v. 8. 97 mutato per singula
pallia lecto and, still nearer, Lucan 4. 629 omnem explicuit
per membra uirum (of Hercules strangling Antaeus). Here it
seems to go equally with soluit and serpentem. solult, relaxed
the creature's contracted muscles and uncoiled its folds and
stretched it loose and limp in death ; a much more pregnant
word than explicuit which Lucan and Statius use Phars. 5. 81
rudibus Paean Pythona sagittis explicuit , Theb. 1. 569.
Compare Yirg. G. 3. 424 (of a wounded snake) cum medii nexu%
extremaeque agmina caudae soluuntur. Had Propertius some
ancient Turner before him? quern, 'the Python before
whom cowered the peaceful quire/ lmbelles, as in Hor.
Od. 1. 6. 10 imbellisque lyrae Musa potens: cf. inerme
above. lyrae, a somewhat bold use (for Latin) of the
instrument for the performer. Just as we speak of the first
or second ' fiddle' or of the 'cornet,' so here it is the cffkvpos
Mov<ra, Aristoph. Ban. 229, that is meant. Compare Stat.
Theb. 7. 730 dum Marte propinquo horrent Tyrrhenos Heli-
conia plectra tumultus; and in. 21. 18 Arioniamuexerat ante
lyram. There is no need to emend deae <fcc. with P.

37. ah Alba, whose line is derived from Alba; compare
on the one hand Seneca Hippol. 758 thyrsigera Bacchus ah
India and on the other Yirg. G. 8. 2 pastor ab Amphryso,

38. cognlte, 'proved greater than thy forefathers of
Hector's age.' Heetorels, not merely Trojan but =' worthy
of Hector': of. Aen. 3. 343 ecquid in antiquam uirtutem ani-
mosque uiriles et pater Aeneas et auunculus excitat Hector f

216 NOTES. Y. vi.

40. ex tunerifl, in. 3. 10 n. hoc onus, the phareirae

pondus v. 53.

42. publica uota. €aesar's ship is freighted with a
nation's prayers. A very modern expression; cf. Introdnction.

43. murorum augur =de maris auguratus: for the gen.
cf. Gic. Divin. 1. 47. 105 augurium salutis, * an augury de
salute 1 ; in a different setose of augur, Ov. Am. 3. 5. 31
nocturnae quicumque es imaginis augur.

44. ire, for a more distinct word like uoiare; cf. Introduc-
tion. Palatums, * seen on the Palatine,' which was Romulus'
station when he took the auguries, Ov. F. 5. 151 huic Remus
institerat frustra quo tempore fratri regna Palatinae prima
dedutis aues. See Livy 1. 6. non Dene, ' in an evil hour.'
Better that Borne should never have been founded than that it
should perish thus.

45. et, ' and so.' nlmlum, some mbs. have lumen and
numen. pro, mss. prope, which is due to the homoeotelen-
ton turpe. Latinos, mss. Latinis, due to the attraction of
rends.

46. prindpe in strong contrast to regla, rvpawtara. It is
a disgrace that, when you are vested with a constitutional
authority, a tyrant's fleet should flaunt on the sea. Compare
iv. 10 (11). 55 non lioc, Roma, fui tanto tibi clue uerenda.
Augustus became princeps Senatus in b. c. 28. uela. Cf.
our use of * sail.' Both agents by which ships make their way
through the water are mentioned, as in Tacitus Ann. 2. 23
placidum aequor mille nauium remis strepere out uelis im-
pelli. There is also probably an allusion to the 'purple safl'
of Cleopatra's ship Plin. N. H. 19. 1. patl, compare v. 48.
Ovid turns the distich to his own uses, Trist. 2. 205 fas pro-
hibet Latio quemquam de sanguine natum Caesaribus saluit
barbara uincla pati,

47. 48. 'Nor let the thought affright thee that their barks
are winged with a hundred oars. They glide o'er an unfriendly
sea.' centenls, the distributive, because classis = nauet.
remiget, for the subj. see Boby 1744: in the same phrase
Statius has the ind. nee te quod soliius contra riget umbo
malighi montis...terreat Silv. 3. 1. 110. alls, cf. Od. 23. 272
oi/5* evype iperfid rdre rrepi vyval triXorrat, Bur. Iph. T. 1346
'EXAaoos ve(os radios rapv$ jcar^pei irlrvhop Irrepctjiliror.
The converse metaphor, as uxremigio .alarum Aen. 1. 301, »
more common. invito marl, of. 1. 17. 14 invito furjitt

fecit iter and Or.

the vivid dcBaripl

5 a tests m fUMoi

fatts, castellormm et

labore uento

fuit. These

'Meanwhile a

sea, broke upon A ni aw j a

and threw it all into

(^ntotw jiobuk)

49. good, ' as to their carrying ~; a "»*■ »y» widen ap-
proximates to quamwit. for which it is need imr. 1> 4S> 42- 5j-
Centanrlca aaxa mlaialry * forms threatening with Cenxaavs*
rocks,' i. e. Centaur £gom I hu a lrnmg to rani ncta
formed the figure-heads, as in Tice. Aeav. 10. 13&, ISC
remi* C«sta*rsss fraaavf: iUe imtaX afar *«.
undis immane minatur. It is to be noticed that the An-
tonian fleet was supplied with engrnpn far limting real rocks,
Dion 50. 33. P.'b idea that nafesmt is for utkmmtmr is ground-
less.

50. eana, rotXo, and therefore unlikely to stand the battle
shock. Trme, 7. 35. 4, where he speaks of the Syraensan tactics*
is a good commentary arrirptppoi TV tb» IpfkXaa x/ ^t^
av apprise i* to rpypaOew avrmt wrtphQan mm. irrjrta trpos
icotXa jcal atrOerij xaXorret tow ippoKtm*. As * matter of fact,
Antony's vessels were xax&, Dion 50. 18. pietoa, 'painted':
and so opposed to umw (Hor. OcL 1. 37. 15). The foroe of
the epithet is the same in Or. Tr. 1. 4. 8 pictos uerberat unda
de<>8, the painted gods in the stern. We think of Macbeth
2. 3. 54 ( 'tis the eye of childhood That fears a painted devil.'
ezperiere, * find by experience ': a somewhat rare use, except in
the "perfect; Juv. 13. 103 exorabile mimen fortasse erperiar.
xnetins, 'source of terror'; as in Stat. Theb. 12. 606 ipsa met**
Libyeos seruatricemqye Medusam pectoris incvesa mouit Tritonia
parma.

51. 52. <f Tis the cause that breaks or lifts on high a
soldier's strength ; if that be not righteous to support him,
shame strikes the weapons from his hands.' at, * or,' like
Greek xai, Thuc. 2. 42. 3 Tpc&rrf re fxtjvvov<ra *ai rcXtfvrala
j3e/9ato0<ra, 6. 60. 1 M i-yvwiiocrlq. Skiyapx^V k*1 rvpavvtKQ.
This use is inclusive and pictorial, presenting both alternatives
simultaneously, as both are found in actual faot : our idiom is
analytic and exclusive, and presents them successively, as only
one k found in any given case. In milite, 4 in the case of a

218 NOTES. V. vl

soldier': cf. i. 1. 17 in me. causa. This idea frequently
furnishes reflections in the Latin writers; see e. g. Gic. Cat.
2. 11. 25, Ov. M. 8. 59 in causaque ualet catuamque tuentibv*
armis. iusta. The student should observe this predicative

use after a relative. subest, of what is at the bottom of a
dispute, a Grundsache : Cic. Off. 1. 12. 88 cum uero de imperii*
decertatur belloque quaeritur gloria, caussas omnino subesse
tamen eaedem quas dixi paullo ante iustas caussa*
ease be 11 or urn. excutlt, Cic. Mur. 14. 30 omnia ista nobi*
studia de manibus excutiuntur. The pseudo-Tibullus ha*
4. 2. 4 ne tibi miranti turpiter arma cad ant. anna

includes weapons of offence as well as of defence, but has
especial reference to the shield.

53. temporis auctor, * in pledge that this is the hour/ or
less probably, 'I who ordain the hour.' temporis =ri}f ev
tccuplas, Ov. R. A. 131 temporis are medicina feresU

54. laurlgera, ' with laurelled hand 1 : the laurel of Phoebus
is the laurel of victory. rostra, ' the beaked ships.'

55. pondus, the arrows ; cf. v. 40. consumit in areas,
Virg. G. 3. 178 et tota in dulees consument ubera natot.
Cicero would have used the abl. arciu, the phircUis mag-
nificentiae; see Introduction. We must however remember the
bow consists of two distinct parts, the wood and the string.

. 56. fait, * came.' The Latin idiom is to use a colourless
word : see Potts' Latin Prose, p. 33, and compare n. 27 (21).
26, rv. 8 (9). 60.

57. * Rome conquers; for Phoebus is true.' Observe the
art of the poet in passing at once from the beginning of the
fight to its victorious conclusion. It was, as is well known, a
very stubborn one. fide. Phoebus was true to his word and
true to the cause he protected. For the first sense cf. Virg.
Aen. 2. 309 turn uero manufesta fides, 'the truth of the pre-
diction,' and for the second Catull. 34. 1 Dianae sumus in
fide* femina. It is very significant of the loathing of the
Romans for Cleopatra that neither Horace nor Virgil nor Pro-
pertius nor Ovid ever mention her by name. She is regiw
(Hor.), or Aegyptia coniunx (Virg.), or even mulier or femina
as here and Prop. rv. 10 (11). 30.

58. seeptra. 'The shivered sceptre is borne o'er the
Ionian waters ' : a very bold image for the breaking of Antonv
and Cleopatra's power and the shipwreck of their armament.
In such uses Propertius approaches very closely to the modem

NOTES. V. vi. 219

Dixit. The passage in Floras is instinctive 4. 11. 9 quippe im-
ensa cUusis, naufragio belli facto, toto mari ferebatur,
rabumque et Sabaeorum et mille aliarum gentium Asiae spolia
urpuram aurumque in ripam assidue mota uentis maria re-
omebanU uehuntur, certainly not 'is towed,' as P. sug-
3sts. It may be for feruntur, ' drifts,' or it may = 'is
jnveyed,' whether in the victor's vessels or lastly in the
inquished ones. If we most 'fix' our poet, it is probably
le last.

59. pater, his adopted father. The Romans could Qwrcu
ar-rovi Aristoph. Idalio, in allusion to the descent of the
em Iulia from Venus through Aeneas. She was queen of
dalium frondosum Catull. 64. 96. astro, cf. Yirg. Eel.
. 47 ecce Dionaei processit Caesar is as t rum, Suetonius
cd. 88 * He was deified, not merely by the terms of a reso-
ltion, but in the popular conviction. For, during the games
hich were exhibited in his especial honour by Augustus his
eir, a comet (stella crinita) appeared and shone for Beven
accessive days, rising about the eleventh hour. It was be-
eved to be the soul of Caesar translated into heaven ; and in
Dnsequence a star is placed above his statue.'

60. 'I am a God: and this the proof that thou art of my
lood.' Your exploits shew you to be of divine descent.
uignlnls, like Gr. at/xa, probably 'descent,' possibly 'offspring.'
des, 'proof,' as in el. 1. 98. For the phrase and the general
anse cf. Yal. Fl. 1. 883 hie nates Phoebique fides non nana
arentis Mopsut, Tac. Ann. 4. 52 Agrippina se natosque Au-
usti nepotes pronepotesque imaginem tins ueram caelesti
anguine ortam appeUat.

61. Triton. The storm is over; and the sea creatures
ambol in the wake of the fleet, as it rides over a mare pacatum.
ompare the descriptions in Mosch. 1. 115 sqq. and also in
'laudian Epithal. Honor. 153 sqq. and Senec. Tro. 208 sqq.
Bkntn, i.e. from his shell trumpet (concha), with which he
tilled the waves Ov. M. 1. 333.

62. libera signa, not 'the enfranchised standards,' but
ather 'the standards of freedom,' i.e. those maintaining free-
om's cause. For the adj. cf. Find. Pyth. 8. 98 iXcvOtpy
to\<? xrfXur t&v8c tfo/utfe 'in a course of freedom' (Fennell),
3. 1. 86 dxl/evSeT 8i rpbt cur/tow %d\*6t/e y\w<r<rav 'on an anvil
f truth' with which compare v. 1. 107 uerueque per astra
rames, 'the path of truth'; cf. Catull. 68. 14 (Ellis).

220 NOTES. V. vi.

68. ill*, Cleopatra. Senec. Oct. 881 super atus acic puppibu*
Nilum petit fugue paratis (of Antony). nlxsu P., not

understanding the construction of hoc unvm, needlessly reads
nacta.

64. hoc unum, accusative in apposition to .the vest of the
line, 'ready to do all but die on a bidden day.' Compare Hot.
S. 1. 4. 10 in hora saepe ducentos, ut magnum, uersus dictabat
stans pede in uno, Tac. H. 3. 31 aspernantem fatigant, txtrt-
mum malorum, tot fortissimi uiri proditoris opem inuocanUs;
so in Greek, Madv. Gr. Synt. § 19. B. 3. The <boc is an idiomatic
fulness of expression : see e.g. Livy 3. 40. 9 quonam fato inci-
disset ut decemuiros qui decemuiratum petissent out soli aut hi
maxims oppugnarent. Ittaso, -of the subject, not the reci-
pient of the order; of. Virg. Aefc. 10. 444 cesserunt aequore iusto
and with an inf. Boby 1353. Compare also mundatam
domumm. 27(11), 20.

65. di melius, probably a -wish, not a statement as P.
who supplies melius consuluerunt ; 'Heaven forefendl' Com-
pare for the ellipse di meliora (so. duint) piis erroremque
hostibus ilium Virg. G. 3. 513 and elsewhere. quanta*.
i.e. quantulus, 'how poor a triumph'; so in Greek tijXLkoi is
sometimes depreciative, Babe 69. 4 4 Ty\l*ot <rov, <faw,
cuptBri ddcffw, 'that little creature.'

66. ductuB erat. A prose writer would have said duet a,
per quas uias ante Iugurtha {ductus erat). For ante with the
pluperf. see i. 8. 36 n.

t>7. htno, retrospective, 'from this contest,' rather than
prospective and referring to quod. traxit monuments

'gained his memorial': a somewhat strange collocation of
words. The use of traxit seems to mediate between that in el.
3. 14 traxit db euerso lumina nigra rogo and that in phrases
like nomen trahere, &c.

68. una decern. We need net speculate, a* some of the
commentators do, how many arrows he had in his quiver, nor
whether this was an average or an exceptional shot. ulctt.
We might have expected 'sunk 1 or some such definite word.
But Propertiufi prefers the vague.

69. dtfcaram. He is Apollo Citharoedus again. For
the change cf. Hor. Od. 2. 10. 18 quondam cithara taeenUm
suscitat Musam neque semper arcum tendit Apollo, Senec A&
327 arcus uictor pace relita, Phoebe, relaxa vmeroque grout

NOTES. V. vi. 221

uibus telis pone pJiaretras respnetque-mam pulsa citata uocale
\elys.

70. ad, cf. in. 32 (26). 42 ad mollis membra resolue clwros.
acidoa, 'peaceful': opposed to implacidas el. 9. 14,

71. 72. 'Now let the white-robed banquet seek the soft
letter of the grove, and o'er my neck let the caressing roses
>w.' Candida, * white-robed* =candi data, albata: so Tib.

1. 16, Ac. For the practice of dressing in white on sacred
id festal occasions cf. Hor. Sat, 2. 2. 61 ille repotia natales
\iosue die rum festos albatus celebret. molli, iv. 3.

n. subeant, 'seek the covert of the grove ' %=succedere

irg. G. 3. 464. conuiula, ' the banquet ' and all that is

icessary to it, and especially the guests, conuiuae. After the
orifice is over, the officiating priests partake of a banquet in
e sacred grove, such as the Pontiftcum cenae Hor. Od. 2. 14.
i. In this case, though the poet's priestly office is more or
3s metaphorical, the banquet is a reality.

72. blandltiae, 'the roses' caresses': i.e. the caressing
ses, a genuine Propertian expression; see Introduction,
sae, as frequently, is the collective singular. fluant, ie,
11 loosely, Ov. F. 2. 737 fusi a per colla coronis.

73. elisa, ' crushed out ': a rather unusual word for pressing
ine, but one that gives admirably the bursting of the grape-
ins.

74. l&uet. For the act. see v. 16 n. We are not surprised
find the use common with verbs applying to liquids, as from
eir great mobility they are naturally regarded as agents in
i action. spica Cilissa. A convenient expression for
srse probably translated from the Greek, compare the Greek
m. Kl\t<r<ra. Ovid has not been slow to appropriate it; Bl 1.
>. Saffron ointment {croclnum) is meant of which Properties
ems to have been fond iv. 9 (10). 22 et crocino naves
urrew ungat onyx, spica is an allusion to the appearance
' the plant And its ykurxtves, as they were called, Geopon. 11.
K p. 831,

75. 76. For the general sense cf. in. 28 (22). 40 nam.sine
nostrum nil ualet ingenium (addressed to Bacchus). It is a

>mmon-place. potls. Independently of the question of

s, authority, I think the ms. poaltls, ' in their places at the
inquet table,' is, very likely what the poet, wrote: of, hl 32
$). 59 me iuuet hestemis positum languere corollti (of. a
irouse. carried on till the next morning). In any case the

222 NOTES. V. vi.

stress of the sentence is on this word. lrritet, ' stir up':

cf. Hor. A. P. 180 segnius irritant aniinos demtisa per aura.
The sense is 'we must let wine wake poetry in as.' It is not
necessary to alter it to irritat with P. and others. totWs,

4 productive' or * fertilising,' as in Lucan 1. c. on v. 83. There
is the same doubt about fecundi calices quern nan feeere
disertum f Hor. Ep. 1. 5. 19. The whole passage should be
compared with this. Phoebo, probably dat. too,

'fratri, familiari et consorti tuo,' Pass.

77. paludosos, * marshy/ i. e. marsh-inhabiting, like pcdu-
dicolas Sugambros Sidon. Apollin. 4. 2. Elsewhere the word
means forming marshes or full pf them. Sugambros, not
Sicambros. In conjunction with the Usipeti and Tencteri they
had defeated M. Lollius with great slaughter, b. c. 16 ; but on
Augustus himself going to Germany they sued for peace and
gave hostages.

78. Cepheam Moreen. Meroe, a district of Aethiopia,
was a sort of African Mesopotamia, being bounded on every
side by the Nile and its tributaries the Astapus and Astaboras,
and was hence incorrectly called an insula. The capital
was also called Meroe. In b.c. 22 and 21 its queen Candace
invaded Egypt, but was more than once severely defeated by
Petronius who had succeeded Aelius Gallus in the government;
on this she sued for peace. Cepheus, the father of Andromeda,
was an old king of Aethiopia, Tac. Hist. 5. 2. fuaca,
'the dusky realms.' Cornelius Fronto De Differentiis Voca-
bulorum fusco album (dull white) opponitur, nigra candidum
(clear white). regna, sc. the people. Ov. M. 4. 21 de-
color Eoo qua tingitur India Grange.

79. confeasum, used here absolutely, 'humbled, owning
his fault and the power of Borne; cf. Ov. M. 5. 215 confessai-
que tnanus obliquaque bracchia tendens • uincis,' ait, 'Peneuf
Veil. Patero. 2. 90. 1 Dalmatia rebellis ad certam confes-
sionem pacatast imperi and id. 2. 39. 2, Plin. Paneg. 16. 3
confessa hostium obsequia. The word properly denotes a
culprit brought to admit his guilt, confeuut reus Or. P. 2.
2.54.

81. pharetrls Eols, 'the quivered East,' the bowmen of
the East ; a bold expression of the same kind as lyrae v. 36.

82. dlfferat, ' may he only be deferring those trophies for
his sons ': see Claud, iv. Cons. Hon. 885 tu proelia differ in
iuuenem compared with ib. v. 874 fertur Pellaeut Eoum gut
domuit Porum, cum prospera saepe Pkilippi audiret, laetot inter

NOTES. V. vi. 223

.HeuUse todales, nil sibi uincendum patris uirtute relin-
q ui. pueros, Gains and Lucius Caesar, sons of Julia and
Agrippa, adopted by Augustus.

83. gaude, Crasse, imitated Ov. A. A. 1. 179 Parthe, dabis
poenas. Crassi gaudete sepulti signaque barbaricas non bene
passa mania. nlgras harenas. From the alluvial character
of the soil in the neighbourhood of Carrhae. The following
description is from a private letter to me from Professor
Sayoe : ( Unfortunately I have never been as far east as
Haran (Carrhae), so I cannot speak as an eye-witness. But
the plain on which Haran and its villages stand is .a rich
loamy one, consisting according to Buckingham of sandy soil
which is dry and dusty where there is no water, but exceed-
ingly fertile where there is any. It lies just under the range of
limestone cliffs. 1 When Fropertius wrote, I have no doubt he
had Virgil's line about the Nile in his mind, G. 4. 293 et
uiridem Aegyptum nigra fecundat harena. For the com-
parison between the Nile and the Euphrates was almost a
common-place; of. Lucan 3. 259 sparsus in agros fertilis.
Euphrates Phariae nice fungitur undae. It is possible
also that he may have been thinking of Babylonia as well as
Mesopotamia. But Hertzberg's idea that nigra* harenas means
" the black country" is absurd. For harenas oannot mean
' country,' and the Romans knew very well that the sun did not
bake sand or any other soil blacker than it was before. si
quid. Observe the difference between this and si aliquid, v.
81 — 'If he shall shew some mercy '; ( if you have any feeling.'
sapis, ni. 5. 26 (4. 42).

84. per, ' across': Virg. G. 4. 457 dum te fugeret per
flumina praeceps. licet. P. well quotes Tac. Ann. 2. 58
inter quae ab rege Parthorum Artabano legati uenere. miserat
amicitiam ac foedus memoraturos et cupere renouari dextras
daturumque honori Germanici ut ripam Euphratis ac-
cederet,

85. patera, ' with libations' : the vessel being put for its
use. So Tib. 2. 1. 51 assiduo aratro, 'with incessant plough-
ing.' Propertius leaves the accompanying drinking to be
inferred.

224 NOTES. V. xL

V. xi.

Intboduction.

This poem is: on elegy on the death of Cornelia, a Roman
lady of the highest rank. She was the daughter of Cornelius
Scipio, a man of consular rank, as we conclude from Sueton.
Aug. 62 \ and Soribonia (v. 56) , the sister of L. Scribonius
Libo, Hie father-in-law of Sextus Pompey, and subsequently
the wife of Augustus. P. Cornelius Scipio, who was- consul in
b. c. 16, was her brother (w. 65, 66). Her husband was PauUus
Aemilius Lepidus (in full, Paull. Aem. L. f . M. n. Lepidus : see
Mommsen's paper in the Bheinisches Museum 15. p. 192), the
son of Paullus Aemilius Lepidus, brother of the Triumvir. Little
is known about him. He was proscribed at the same time as
his father, and was the Republican commander in Crete. But
he afterwards joined Octavian, whom he accompanied in the
campaign against Sextus Pompey* In reward for this submis-
sion he was appointed consul (suffectus) July 1, b. o. 34, and sub-
sequently, in b.o. 22, was allowed to hold the censorship on the
last occasion that that office was held by private individuals.
His colleague 1 was L. Munatius Plancus, a man of dissolute
life. The colleagues quarrelled, and their office redounded to
the credit of neither. Besides Augustus did much that ther
should have done*. Paullus was a man of very circumscribed
ability and probably owed his advancement in great part to his
high birth and connexions. His greatest work was the com-
pletion of the Basilica Aemilia which his father had begun.
The offspring of the union were two sons, L. Aemilius Paullus

1 Suetonius-says that Scrfoanfai had been married to two men of consular
dignity before she married Augustus. We do not find Scipio's name in tlie
Fasti, so that it is probable be was one of the consules suffectu

* In Dr Smith's Did of Biography (a. v. Lepidus, no. 19), it is stated *tiut s

Yelleius

contradiction arises between Yelleius Paterculus (ii. 95) , and Dion

(liv. 2) on the one hand, and Propertius on the other, as the two former writer*

say that Paullus died during his consulship.' I transcribe the two psnnngri in

3uestion. Yelleius : ante quae tempore ceruura Pkmci et Paulli acta inttr
iseordiam, neque ipsis. honori neque ret publicae usui fuit, cum aUcrt uii ce+
sari*, alteri uita dees set (Le. Plancus whose life was not such aa qualified
him fdr the censorship), Paullus uix posset itnplere censorem, Plancus tiwure
deberet Dion C. (speaking of Augustus) ovtc yap n\v dpxw vtre'cmi (the Senate
wished to make him perpetual censor) kcu cv0i* ercpovc Tiaras, TJavAdr n
AlfiCkiov AiwiBov icat Aovkiov VLowariov nAayieov, tovtoi' /*£•» a&cA^or rtv
nXayieov exefrov tov iwucnpvx64vros bvra, tcv ok AivtBov avTbv r6rm fara-
rtaOivra (condemned to death in the proscriptions) aWSet^ef. It seems u
though the spaced words are the authority for this supposed contradietioa
If so, the charitable reader may suppose that the writer of the article never re-
ferred to the passages which he cites.

1

NOTES. V. xi. 225

and M. Aemilius Lepidus (v. 63), and a daughter, Aemilia
Lepida (v. 67). The first married Julia the granddaughter of
Augustus, and was consul in a. d. 1. This did not prevent
him from subsequently entering into a conspiracy against him.
The second was consul in a. d. 6 and was a man of very dif-
ferent character, able but unambitious. In discussing his pos-
sible successors, Augustus said that Lepidus was capax sed
aspernan8 (Tac. A. 1. 13). Tacitus himself expresses a high
opinion of Lepidus (A. 4. 20). Of Lepida nothing is known.
She may be the (jenerosissima femina, who was condemned to
death by Tiberius (Suet. Tib. 49). Cornelia died in B.C. 16
during her brother's consulship (v. 66). Compare v. 61, where
it is said that she had won the rewards of the Lex Iulia b. c.
18. There would seem to have been unfavourable reports af-
fecting her reputation which the poet carefully seeks to remove
(see w. 15—22, 37—60) \

The poem itself is a sort of funeral oration in verse ; and it
is Hiibner's probable conjecture that it was intended to be
engraved upon Cornelia's tomb. This seems to be what is
intended by v. 36. Nor is it surprising that a long poem should
have been so engraved, when we have, preserved to us in this
way the whole funeral oration which Q. Lucretius Vespillo,
who was consul b. c. 21, spoke over his wife Turia (Corpus
Lnscr. Lat. vi. 1527). Its plan is not consistently main-
tained throughout. Cornelia passes from addressing her hus-
band in the upper world to addressing her supposed judges in
the lower, and vice versa. This is the more intelligible if the
jlegy were sculptured on her tomb, at once the passage and the
carrier between the two worlds.

Argument.

Your lamentations for me are vain, Paullns. The dead
lever come back again. Death regards no claims (1 — 14).

My early death was not the punishment of sin. Let the
iternest court of the world below try me, and all hell listen
vhile I plead my cause (15 — 28).

My birth was noblo on both sides (29 — 34); my marriage
vas noble, and I have done shame to neither (35— -48). My
ife has been as blameless as that of the maligned Claudias
ind Aemilias of old (49 — 54). I have never disgraced my im-
>erial relationship. Caesar himself bemoans my fate (55— GO).

1 A table of Cornelia's relations is given at the end of the notes.

P. p. 15

226 NOTES. V. xL

I have won the honours of maternity. Three children
will deplore my fate. I have seen my brother consul. Thus
though I die before my time, I am not loth to depart and win
the highest commendation that can fall to a woman, the praise
of posterity (61—72).

Now, my husband, I charge thee to play a mother's part to
my half-orphaned children. Mourn for me in private ; but be
cheerful when they are with you (73 — 84). And, my children,
should your father take another in my place, be careful to win
her love by your conduct (85 — 90). But if he is faithful to
my memory, let your affection supply my loss and cherish his
declining years. And may you both live the longer that I have
died before my time (91 — 96).

Enough. I am content. Bise, my witnesses, till the under-
world awards me the due recompense of my merits, the celestial
honours of my ancestors (97 — 102).

1. Deslne, Virg. Aen. 6. 376 desine fata deum JUcti sperare
precando. urgere, * to distress, importune, allow no rest
to': of. Hor. Od. 2. 9. 9 tu semper urges flebilibus modis
My 8 ten ademptum, lacrimls, these signs of grief
being distasteful to the spirits of the dead; see Anth. Or.
7. 667, and compare Tib. 1. 1. 67, 68 tu Manes ne laede
meos; sed parce solutis crinibus et teneris, Delia, parce genis;
and so of the deified Romulus Ov. F. 2. 504 nee uiolent
lacrimis numina nostra suis. mown sepulcnim==3f ana
meos, 'my buried shade': so in Catull. 96. 1 si quicquam
mutis gratum acceptumque sepulcris accidere e nostro, Calve,
dolore potest, Ov. F. 2. 33 aut quia p lac at is sunt tempera
pura sepulcris: and see note on v. 20. There is also an idea
of weeping at the grave.

2. ad, ' in answer to, at the call of : cf. v. 5. 47 ianitor
ad dantes uigilet. ianua nigra = lurida porta v. 8.

8. Infernas leges, 'the domain of the underworld,' its
jurisdiction: cf. Pind. Pyth. 2. 43 otir* h attipaatr our 4w (kt*
pofiois (Dissen). The leges are mentioned again in el. 7. 91
luce iubent leges Lethaea ad stagna reuerti. P.'s suggestion
seats is unnecessary. intrarunt, a rare but intelligible

use. The metaphor is probably derived from entering a court:
so in Plin. Ep. 5. 4. 2 alio senatu Vicetini sine aduocato in-
trauerunt, itinera —Manes: of the dead body i. 17. 6

and Virg. Aen. 9. 489 quae nunc artus auolsaque membra it
funus lacerum tellus Jutbett

NOTES. V. xL 227

4. non eronXo -inexorabilu Note first the resolved nega-
tive of which Propertius is fond, Bee Introduction, ■» «4 com-
pare iv. 12 (13). 56 in hospitio non, Polydort, pio iiwtpio), and
secondly the perf. part, in an aoristie sense 'what ha* never
been appeased nor will be so': so im$atmnUm — «* txoptatms.
It is akin to the frequentative use of the Gk. aor. and Lot. pert
BtsJL\=immotae sunt. Tib. 1. 1. 64 stat tibi corde silcz,
Ov. F. 5. 383 saxo stant antra uctmsto. The stress of the
sentence is on non exorato. adamaste. So Virg. Aen, 6.
551 porta aduersa ingens solidoque idamantf nrfrntnar Theoer.
2. 36 xal rbv ip "AiZq. Kunjaais $ dtdftarra. ttta#=Al-
caeus Mess. Anth. Or. 7. 412. 8 evrc ^td^pel^p otjiop tfat

5. fuscae, see el. 6. 78 n. The air is dusky, of 'darkness
visible' so to say, while the gate is black. Appuleius Met. 6.
p. 185 speaks of the fuscae Stygis undat. aolae 'the
vasty hall of death,' Matthew Arnold; Eur. Ale. 259 Aytt
lU tls...v€kv(op is avXap and Hor. Od. 2. 18. 31. tirftnt.
i e. Kcjf k\v-q, ou/c d*owr«-cu.

6. nempe, 'assuredly': of something which it is rain to
doubt. Ov. Am. 2. 6. 20 infelix auium gloria, nempe iacest
Utora. The scene of action does not seem to be clearly con-
eeived. The ( shores ' are no doubt those of the infernal lake:
but Paullus' actual presence there cannot have been intended,
and yet that is implied in bibent. See on v. 8. surd*, re-
turning no answer. bibent. Your tears will be wasted on
the insatiable sand (bibula harena) no less than on the impene-
trable rock. Cf. Oat. 66. 85 illius, a, mala dona leuis bib at
irritapuluis.

7. superos, emphatic, * only the Gods above.' aera,
the obol piece (triens in Juv. 3. 267) which was placed in the
mouth of the corpse to pay Charon's fare with. See Ar. Ban.
140, Leon. Tar. Anth. Gr. 7. 67 *w <f>0ifUpovs vglvcto\Iup 6po\6s.
It was a Greek superstition adopted by the Bomans.

8. obserat 'closes' = i ob8erata claudit*; an idiom of the
same character as that noticed on el. 6. 16. nmbrosos. It
is hard to decide between this and herbosos. Propertius'
meaning is that, when the body is once placed in the earth,
there is no return. It cannot leave the ' tree-shaded ' or the
'grassy tombs.' umbrosus refers to the practice of planting
trees over the spot where the body was burned and where it
was interred. So in. 5. 18 (4. 34) q. v. herbosus would refer to a
mound of turf (caespes). I cannot believe that it could denote

15—2

228 NOTES. . V. xi.

the flowers thrown on the blazing pyre. In either case Pro-
pertius is thinking of a humatio ; see ni. 5. 18 n. lurid*

•wan': of a ghastly yellow paleness. porta. The con-

Grateness and narrow range of the Boman imagination causes
endless confusion in their conceptions of the unseen world.
Thus here and in v. 2 the conception seems to waver between
the door of the material sepulcrum and the gate of the shadowy
underworld. So again in v. 6 the prayers and tears addressed
from the upper to the under world are thought to be actually
wasted and absorbed in these invisible shores. So the disem-
bodied spirit is now called the * bones ' {ossa v. 20, 56), now the
'ashes' (cinis Tibull. 2. 6. 34),. now. the ' pyre,' i.e. the burnt
body (rogi Ov. F. 6. 492), or the ' sepulchre/ L e. the buried
body (v. 1 n.), or even the ' corpse ' {/units v. 8). Occasionally
the commingling of the ideas is complete ; so in in. 5. 41, 42.
Compare note on in. 5. 16. rogos, here probably the * tomb,'
though the confusion already described makes it very difficult
to decide; cf. iv. 6 (7). 10 n.

9. sic, 'to this purport, in this strain.' tubae, n.
7. 12. subdita fax, imitated by Seneca Troad. 387 cum
profugo spiritus halitu immixtus nebulis cessit in aera et nudum
tetigit subdita fax latus; cf. suppositus ardor m. 5. 15.

10. detraheret, ' was withdrawing.' lecto, m. 5. 5 n.
lnimlca, 'destroying.' caput, not intended to exclude
the body.

11. ' What did wedlock with Paullus or chariot of ancestors
avail me, or all the gages of my matron's fame ? ' curnu.
For this, which may be called a ' typical ' singular, compare
Cic. Fam. 15. 61 quern ego cur rum aut quam lauream cum tua
laudatione conferremt Prop. ni. 6 (5). 24 haec spolia, hate
reges, haec mihi currus erunt. We must also remember that
few houses would be able to shew more than one triumphal
chariot : for which see I. 16. 3 n.

12. famae =/amae pudicae, m. 30 (24). 21. plgnert,
'assurances': my children who support their mother's fair
fame by being living proofs of her chastity. We must not
leave out of sight the use of the word for near relations,
especially children, which first sprang up in the Augustan
period and is due firstly to children being regarded as warrants
of the existence and the continuance of mutual affection, and
secondly to the fact that a man's nearest relations were those
selected as hostages or security for his loyalty. tanta=
tot, cf . i. 5. 10 n.

NOTES. V. 3d. 229

13. minus, 'the less' on that account; so in Ov. Her*
11. 17 — 20 quid iuuat admotam per auorum nomina caelg inter
cognatos -posse referre louemt num minus infestum, funebria
munera, ferrum, feminea teneo y non mea tela, manu f So Prop,
in. 15 (13). 30. habuit ' found.' So 1. 1. 8 aduersos cogof
habere deos. Cic. Fam. 1. 4. 1 eo die acerbum habuimus
Curionem, Bibulum multo iustiorem paene etiam amicum. All
the editors read habui for the ms. habuit, which however
may be right — compare v. 43 non fuit exuuiis tantU Cornelia
damnum — especially as it is well known that the ancients could
not keep up the third person for any time in speaking of
themselves. One passage is enough to shew this. Soph. Oed.
Col. 3 — 6 rls top TrXavrJTrjp Oldlvovp kclO' rifiipav rrpf pup
(Tiravi<rr6ts &£ercu 8<opijfia<rtv 9 fffwcpop fikv i^atrovpra tov ofiiKpov
8' £ti fieiop <f>£povra teal rod' i^apKovp ifiol; Cornelia. Such
introductions of the proper name have always a special
emphasis, as they contain an assertion of the personality.
The self-assertion is sometimes that of conscious pride as here,
' I with all my personal and hereditary claims for considera-
tion.' Seneca Med. 171 Medea fugiamt 'Shall the descend-
ant of the Sun, the mighty sorceress, fly?' Sometimes that of
a proud humility, Aen. 5. 194 non iam prima peto Mnestheus,

14. et, the editors en, a needless perversion of the text,
digitis qulnque, a hack poet would have said una manu.
leuatur, again a confusion between the ghost and the ashes.
Observe the indie, and cf. I. 9. 29 n., where the tense is the
perfect. The sentiment has become a commonplace, Ov. M.
12. 615, 616 iam cinis est et de tarn magno res tat Achille
neseio quid par u am quod non bene compleat urnam (where
we may observe the same tendency to connect physical to
intellectual greatness as we observed on in. 1. 12).

15. damnatae noctes, either (1) ' nights for which one is
condemned,' a usage like iusso die, el. 6. 64, or (2) ' nights of
the condemned *=damnatorum noctes for which Tib. 1. 3. 67
sedes scelerata may be compared. lenta, 'sluggish,'
Hor. Od. 2. 14. 7 uisendus ater flumine languido Cocytus
errans. paludes, Ov. M. 1. 737 Stygias iubet hoc audire
paludes.

16. quaecumque. For the metrical construction of the
verse, cf. iv. 6 (7). 58 et quaecumque meum degrauat unda caput,
lmpUcat, not ' entangles my feet,' the more natural meaning
of the words, but ' winds round my path.' For this sense of
4 encompassing ' see Stat. Theb. 2. 3 pigrae ire uetant nubes et
turbidus implicate aer. Virg. G. 4. 479 is a good commentary,

230 NOTES. . V. xl

quos circum tristique palus inamabilis unda alii gat et nouies
Styx inUrfusa coerceU

17. My early death is not the punishment of a sinful life.
Hon noxla, see v. 4 note.

18 — 20. The general sense of these difficult lines is an
assertion of her innocence. 'If I am innocent, let me have
the rewards of innocence. If guilty, let me be punished by the
severest judge in the lower world.' Hertzberg well compares
m. 13 (11). 28 sqq. possum ego naturae nan meminisse tuaet t urn
me uel tragicae uexetis Erinyes et me inferno damnes,
Aeace, iudicio.

18. pater. It is doubtful who is meant. Hertzberg sup-
poses Die is meant, who is called Pater on inscriptions with
the addition of some epithet. I think it possible however that
Cornelia's father may be meant ; for it was usual for women
who had been tried to be handed over by the state to their
relations to be dealt with in private. The treatment of those
who had taken part in the Bacchanalian rites is an instance,
Livy 39. 18. 6, and it is probable that Cornelia's father would
be mentioned somewhere in the poem. hie, * in the under-
world/ cf. hue v. 17. dot mollla iura, * so may he deal
leniently with my shade,' give me easy terms. I think that we
must admit Hertzberg's distinction between ius dicere and
iura dare here ; ius dicere is to expound the law, to administer
it ; iura dare is to give a body of rights, a constitution ; and
hence it is used with dare leges, Virg. Aen. 1. 607, Livy
1. 8. 1 {Romulus) uocata ad concilium multitudine, quae coaJa-
cere in populi unius corpus nulla re praeter quam legibut
potcrat, iura dedit,

19. aut, i.e. if I am guilty. si quia, i.e. ■ any such
person as Aeacus.' The indefinite pronoun can be used in such
cases, because the proper name is typical or representative of a
class. Aeacus really = here *an Aeacus,' a person with his
attributes and corresponding -to his description. Compare
Virg. Aen. 1. 181 prospectum late pelago petit Anthea ft
quern iactatum uento uideat, i.e. any one like Antheus, Seneca
Here. Oet. 1792 si quis minor Busiris aut si quis minor
Antaeus orbem feruidae terret plagae. index. Hertzberg
has thrown the whole passage into confusion by making this
s=iudex quaestionis or president of the court (whom he regards
as the quaesitor of Virg. Aen. 6. 432), who appoints the indices
eelecti from the ghosts to try the case (the sortitio iudicum).
Whatever may be the true interpretation of the passage in
Virgil, it is clear that Propertius could not have called the pre-

NOTES. V. xL 231

siding judge by the very name whioh was appropriated to the
* special jurors 1 whom he appointed to hear the case ; and the
mention of assessors (v. 20) is unintelligible unless Aeacus
heard it himself, index then is not— index quaestionis, but
has its general sense of an acting, not a presiding judge;
and the reference to the sortitio iudicum is learning thrown
away. sedet, cf. rv. 18. (19). 27 Minos sedet arbiter

Orci, where arbiter =iudex here. posita urna* It is

not certain, but very probable that this and sortita pila in
v. 20 and n. refer to the same thing. What then is the
•urn'? Not (1) the urn in which the names of the jury-
panel were thrown for the purpose of selecting a jury to try
the case (sortitio iudicum), but either (2) the voting urn, as
in v. 49, or else (3) the urn containing the names of the accused
and which decided the order in which their trial came on.
This is the meaning in Seneca Ag. 24 quaesitor urna Gnosius
uersat reos, in Stat. Silv. 2. 1. 218 ibimus omnes, ibimus; im-
mensis urnam quatit Aeacus umbris, and, I believe, in spite
of Conington and others, in Yirg. Aen. L c. Compare Hor.
Od. 3. 1. 14 aequo, lege Necessitas sortitur insignes et imos,
omne capax mouet urna no men. posita, placed near him or
before him; a use Ukeposito Iaccho 'when the wine is on the
.table ' n. 3. 17, <fec.

20. ulndicet in, 'inflict punishment on.' This is the
original construction of uindicare {uim dicere) 'to shew violence
towards* In later Latin we only find it in the impersonal use,
as in Cicero in socios uindicatum. But it is preserved in a
fragment of the XII Tables in Gellius 20. 1. 45 si ivdicatvm
facit avt qvis endo eom ivbe viNDiciT, i.e. in eum iure uindicat
(uim dicit). For Propertius' archaisms see Introduction, ossa,
see v. 8 n. sortita pila. It is possible to suppose that
this refers to Aeacus being appointed index by ballot. It is
however much more probable that it means 'drawing by lot the
ball inscribed with my name' drawing my name in the ballot.
tortitae is passive 'drawn by lot,' here as in el. 7. 55 nam
geminast sedes turpem sortita per amnem where it means 'as-
signed by lot.'

21. adsideant. It was not uncommon for a single iudez
to have one or more assessores who sat by his side on the
tribunal to advise him on points of law, &c. This custom is
transferred here to the infernal courts. Compare the passage
quoted by Hertzb. Stat. Theb. 8. 21 sqq. forte 8 e dens (as
index) media regni infelicis in arce dux Erebi populos poscebat
crimina uitae......iuxta Minos cum fratre uerendo iura

232 NOTES. V. xi.

bonus meliora monet regemque cruentum temperat. So in
the Peruigil. Yen. 49, 50 iussit Hyblaeis tribunal stare diua
Jloribus, praeses ipsa iura dicet (=ius dicet), assidebunt
Gratiac. fratres * half-brothers,' if we take the ordinary

account, which makes Minos and Rhadamanthus sons of Zens
and Europa, bat Aeaeus the son of Zeus and- Aegina. In this
case we may compare sororem v. 59. Another account however
made Aeaeus the son of Europa (Serv. Aen. 6. 566). Thus
there is no need for Hertzberg v s interpretation 'confreres.'
The reading of the rest of the line is somewhat uncertain, the
MSB. having Minoia sella. But there is no reason for inserting
an et after iuxta as a different verb to adsideant must be supplied
with v. 22. For the Furies would be standing. Minoida

sellam, Minos' magisterial seat. Minois is usually a subst.
Catull. 64. 247, Seneca Phaedr. 132. [Mr Palmer's reading
adsideant, fratrem iuxta Minoia sella et has some plausi-
bility.]

22. Eumenidum. The Furies are the lictors of the under-
world, waiting to execute the sentence when pronounced,
intento foro 'in the strained silence of the forum.' Yirg.
Aen. 2. 1 conticuere omnes intentique ora tenebant. Yal. FL 4,
257 hinc Mine dubiis intenta silentia uotis. seuera=
'austere': Y. Aen. 6. 374 has tu Stygias inhumatus aquas
amnemque seuerum Eumenidum adspicies,

23. Every part of Hell is to be still to hear the trial. The
passage is imitated by Claudian Bapt. Pros. 2. 833 uerbera
nulla sonant nulloque trementia luctu impia dilatis respirant
Tartara poenis, non rota suspensum praeceps Ixiona torqutt,
non aqua Tantaleis subducitur inuida labris et cett. So in rv.
9 (10) 5. sqq. all the elements are to be at rest on Cynthia's
birthday, cf. Callim. Hymn. Apoll. 19. mole uaoes, i. e. 'be
freed from the task of rolling your stone.' So there is a simi-
lar Latin conciseness in Livy 2. 48. 9 res publica et milite
illic et pecunia uacet 'the duty of furnishing soldiers and
money.' taceant, 'cease whizzing.' Compare Ov. M. 10. 42
stupuitque Ixionis orbis. orbes, 'the circling wheel, the
revolutions of the wheel': such seems to be the force of the
plur.

24. fallax 'mocking' : compare in. 9 (8). 6 ut liquor arenti
fallat ab ore sitim. Tantaleo. The msb. have TantaUo
corripiare which can only be defended by supposing that there
were two forms of the name, Tantalius and Tantalus, just ts
there are two Tyndareus and Tyndarus. As this supposition
is without authority, we must emend the text. Tantaleus has

NOTES. V. xL 233

been suggested ; but there is no reason why it should have
been altered into Tantaleo. It is better then to read corripere
ore which was altered into corriperare and then to corripiare.
For the alternation of the imperat. and subj. see i. 8. 19, 20.
liquor. Propertius always uses liquor and liquores in the sense
of 'water/ of. m. 21. 4 n.

25. petat. An American would say 'go for.' lmpro-
bus, see i. 1. 6 note; 'unconscionable' about hits the general
meaning of the word.

26. Cerberus is not to ramp or pull at his chain. The
chain lies loose on the ground and the padlock (sera) of the
door to which it is attached ceases to rattle (tacita). Compare
Bich s. v. sera, et, P.'s proposed alteration sed or set is
quite unnecessary. laza has rather more ms. authority
than lapsa. tacita sera. This explains the imitation Stat.
Theb. 8. 56 ferrea Cerbereae tacuerunt limina portae.

27. loquor, so the mss. ; and there is no need to change it
to the less vivid future. 'I am my own advocate. 1 Compare
Cic. Tusc. 1. 5. 10 forta88e etiam te inexorabiles iudices Minos
et Ehadamanthus (te terrent) apud quos nee te L. Crassus de-
fendet nee M. Antonius, nee, quoniam apud Graecos iudices res
agetur, poteris adhibere Demos tlienem : tibi ipsi maxima
corona caussa dicenda. si fallo. The present is a legal
U6e ; cf. 6k. el dducco and the Latin formula in oaths si scucns
fallo. So in el. 7. 53 (P.). sororum, the Danaid sisters.
In el. 7. 67 narrat Hypermnestre magnum ausas esse s or ores
there is more specification ; see Introduction.

28. Infelix, 'unblessed,' 'accursed'; so Tib. 1. 4. 60
infelix urgeat ossa lapis.

29. 30. The sense is 'if any have ever been graced by the
distinction of ancestral trophies, I have been so.' Instead how-
ever of stating it thus generally, she gives a particular example;
an indirectness which reminds us of Pindar. Thus in Nem. 3.
19 sqq. we read el b* iwv Ka\6s tpSur r ioucora fu>p<f>$ avoptais
vireprdrats 4r4^a rrats 'Apiffrofdvevf, and we expect 'it is im-
possible for him to go farther'; but we have ovjtlrt rrporipa
dparav a\a kiovuv virkp 'HpcurXlot/s xepdw evpuaph. fama
per tropaea, we should expect the gen. or ex. See Intro-
duction, decori fuit, 'adorned'; decisis more usual of
the beautifying thing, decor being kept for the quality of beauty
itself. Thus we have in Virg. Eel. 5. 32 uitis ut arboribus
decdrist. Ovid however follows Propertius Met. 13. 848
ouibus sua lana decdrist. For the sense compare Claudian in

234 NOTES.. T. xi

his Laus Serenae (the wife of Stilicho) which contains many
imitations, w. 34—6 quod si nobilitas cunctis exordia
pandit laudibus, atque omnes redeunt in semina
causae, quiz uenerabilior sanguis, quae maior origo
quam <fec. Afra, mss. aera. The line is a somewhat

roundabout way of alluding to the African and Spanish suc-
cesses of the two Scipios, Africanus the elder, the conqueror
of Hasdrubal, Hannibal and Antiochus; and Africanus the
younger, son of L. Aemilius Paullus, captor of Carthage
and Numantia. The reading Afra is supported by Claadian's
evidence (1. c. on v. 43). loquontur, 'tell the tale of,*

4 are eloquent about': cf. eL 1. 104 out sibi commissos fibra
locuta deos.

31. exaequat, i.e. to the paterni aui. The absolute use
of the word is very rare. turba...Libones is another instance
of Propertius' 'disjunctiveness.' Cf. Introduction. Ubones.
It is certainly a stretch of language to say the Libos were
♦equal' to the Scipios: but Propertius cannot forget that Au-
gustus allied himself with this house in marrying Scribonia.

32. titulis, literally * commemorative inscriptions.'

83. mox. She passes on from her birth to her marriage,
praetexta, the toga praetexta, the dress of childhood, worn by
girls till their marriage. facibus marltis, Ov. Her. 11. 101

tolle procul decepte faces, Hymenaee, maritas.

34. altera ultta. The matron's uitta differed in shape
from the maiden's, uirginea, Val. Fl. 8. 6 ultima uirgineis
turn flens dedit oscula uittis, and compare Aen. 2. 168. The
bride's headband is called recta el. 3. 15 Stygio sum sparsa loot
nee recta capiUis uitta datast, unless indeed it is meant that
the uitta was put on askew. acceptas =* taken up.' The

force of this word and of ulnxit will be apparent from the
illustrations in Rich under uitta and fiammeum. So capio
el. 9. 49 mollis et hirsutum cepit mihi fascia pectus. P. quotes
Plaut. Most. 1. 3. 69 soli gerundum censeo morem et capiundot
crines. Compare Anth. Gr. 6. 276 y *-o\u0pc£ aiXdt areft*-
aa.ro vapdivot "Itttttj xalrar... ijfdty yap ol iiryXOe ydp.ov rAor.

85. slo alscessura, • thus,' by death, not by divorce ; for
which discedere is frequently used, e.g. Cael. Cic. Fam. 8.6
uxor a Dolabella discessit. cublll with iungor.

36. hoe. There is confusion about the scene again. Cor-
nelia is supposed to point to her gravestone. unl nupta,
j. e. as a vniviba Inscrr. Cf. Yal. Max, 2. 1. 3 quae uno matri-

NOTES. V. xL 235

numio eontenta fuerant, corona pudicitiae ftonordbantur ; see
Bekker Gallus p. 176.

87. colendos. A good commentary is Cio. Agr. 2. 35. 95
haec qui prospexerint, maiores nostros dico, Quirites, non eos
in deorum immortalium nume.ro uenerandos a nobis et colendos
putatis)

38. sub tltulis, the titulus or inscription, as frequently
in coins, being placed over the figure. laces. The poet
evidently has some artistic representation in view, in which
Africa was depicted as a prostrate female figure with locks cut
short. tonaa, with the hair clipped in sign of mourning,
a Greek custom, see Becker's Chariot, p. 398. Or perhaps in
token of her being reduced to slavery ; compare At. Av. 911
ftrcM-a SovXos <3r k6\li\v #x«* J compare the Greek epigram
ijneTtpais povXais ^vdprrf pty itceLparo d6£cu> translated by
Cic. Tusc. 5. 17. 49 consiliis nostris laus est at ton 8 a Laconum.
tunsa is also read, in the sense, I suppose, of Yirg. Aen. 1. 481
tunsae pectora palmis; not a very pleasant or easy thing to
represent, and besides a rather questionable use of the word.

39, 40. These lines are read in the mss. :

et Persem proaui stimulantem (or simulantem) pectus Achilli
quique tuas proauo fregit Achille domos.

This is not the only light we have for deciphering them.
Silius Italicus has had the couplet before him in several pas-
sages; 3.246 sqq. Sichaeus Hasdrubalis proles cui uano cor da
tumor e maternum implebat genus, 14. 93 sqq. turn praecipiti
materna furori Pyrrhus origo dabat stimulos proauique su-
perbum Aeacidae genus atque aeternus carmine Achilles (of
Hieronymus), 15. 291, 292 (of Philip) hie gente egregius ueter-
isque ab origine regni Aeacidum sceptris proauoque tumebat
Achille, 3. 649 ut uiso stimulabat corda Tonante. The conside-
ration of these passages led Heyne (on Yirg. Aen. 6. 480) to
read qui for et in v. 39 and et tumidas for quique tuas in v. 40.
It is clear from them that Silius Italicus found tumidas or some
word connected with it in his Propertius: but the same argu-
ment also shews that he rend stimulantem (it is significant that
the same word occurs in the context immediately after the first
passage quoted). If we felt sure what was the reading of
the rest of the line in Silius' copies, our way would be clearer.
(1) He may have read proaui Achilli and taken it as a
Propertian gen. 'goading his breast to an Achilles' courage'
(cf. Introduction) or he may have read proauo Achille
(Lipsiufl' conjecture), in which the construction is much easier

236 NOTES. V. xi.

and more like his own. I used to think the occurrence of the
same case in the next line was against this view. I now think
that it is possible the repetition may be intentional and designed
to increase the mockery. It is clear from other passages that
Perseus was always insisting on his ancestry, e.g. Justin 33. 1
oblitus fortunae paternae ueterem Alexandri gloriam considerare
suos iubebat. (2) We may however suppose that Silius' reading
stimulantem is a corruption for almulantem ; and most editors
have done so, thus certainly ensuring at whatever cost an
easier construction. The next question is the reading of v. 40.
Heyne's correction, which Baehrens has adopted and which I
have already quoted, is too extensive an alteration, I think,
and not really necessary; for fregit may be taken to refer to
Perseus, ' caused the ruin ' of his house. For a similar use of
frango ejficio ut frangatur, cf. Juv. 14. 93 immimiit rem, fregit
opes and in a literal sense 8. 247 nodosam post haec /range-
bat uertice uitem and 7. 86. I should therefore prefer to
keep et in v. 39 (for it is quite in keeping with Propertius'
manner to appeal to the conquered as witnesses to the con-
queror's glory, e. g. iv. 10 (11). 59, 60) to retain quique and
read tumens for tuas in v. 40. Of the conjectures which dis-
regard the authority of Silius, the best is Santen's te, Perseu,
proavi simulantem pectus Achilli quique tuas, Ac. « your house,
Perseus, descended from Achilles.' [After writing this note,
I remembered Mr Munro had discussed the passage in the
Journal of Philology, Vol. vi. pp. 53 — 62. He believes that
two lines have fallen out after v. 38, such as

et qui contuderunt animos pugnacis Hiberi
Hannibalemque armis Antiochumque suis,

and in v. 40 he would read

quique tuas proauus fregit, Auerne, domos,

and take it to be an allusion to Hercules. I regret that I can.
not accept these changes. For (i) the changes proposed are
too extensive and require too many hypotheses to carry con'
viotion. (ii) Mr Munro leaves out of Bight one of the most
important elements in the problem, the evidence of 8ilius.
(iii) His arguments against the existing reading cannot in all
cases be sustained ; e. g. it seems too strong to say that «tm»-
lantern must refer to the same time as testor and the Latin
language peremptorily forbids its meaning ( who formerly af-
fected. • For example, in Hor. Ep. 1. 19. 23 Parios ego prima
iambos ostendi Latio, numeros animosque eecutus Archilochi, mm
res et agentia uerba Lycamben, agentia must be prior in sub-
stantial sense to ostendi and secutus. In the present passage

NOTES. V. xl 237

I regard the use of simulantem as vividly pictorial, as in rv.
18 (19). 21, 22, in a similar historical allusion, tuque o Minoa
uenumdata Scylla figura ton dens purpurea regna paterna
coma. Compare Introduction.]

41. mollisse, i.e. no fault of mine has caused my hus-
band, the censor, to relax the strict justice of his office, or
diminished its prestige and authority. The allusion (which
Hiibner denies) is not a happy one, as Paullus was far from
being a model censor.

42. labe 'stain,' cf. el. 8. 20 format non sine labe meae.
ernbuisse * blushed. ' To the poet's active imagination the ruddy
glow of the fire on the hearth and its reflection on the
Lares suggest the blush of shame. focos, tbe seat of the
family feelings and associations. uestros is certainly right,
the hearth which is hallowed by your memory.

43. exuulis. Olaudian Laus Screnae w. 42, 3 has an
evident allusion to this line claram Scipiadum taceat Cornelia
gentem seque minus iactet Libycis dotata tropaeis. fuit,
v. 13 n. damnum, i. e. she did. not impair the lustre of
these honours. For the nom. cf. in. 1. 6 n.

44. para 1m1tanda, of. Virgil et quorum pars magna fui
quoted on i. 21. 4.

45. xnea aetas = 'I throughout my life' or 'in my manner
of living'; cf. n. 5. 27 n. mutatast, changed for the
worse; cf. in. 20 (17). 37 non tamen ista meos mutabunt
saecula mores.

46. uiximus, cf. Consol. Liv. 365 spes publica uixi. In-
slgnes, i.e. a mark for praise. utramque facem, the
torches of marriage and of death; Ov. (?) Her. 21. 172 et face
pro thai ami fax mihi mortis adest, Justin 11. 1 nonnulli
facem nuptiis filiae accensam rogo patris subditam dolebant.

47. 48. My virtue is natural and inherited, not assumed
through fear of punishment. Compare for the sense Stat.
Silv. 5. 2. 71 etpudor et docti legem sibi dicer e mores and
Eur. Hipp. 79 (quoted by P.) oaots SidaKrov fiijdtv, d\X 4p rrj
ipvaei to ffuxppovew etKyxw els rd iravd y ofi&s. possem, MSB.
possim. xnetu. Ovid, as usual, works the thought thread-
bare, M. 1. 89 seqq. aurea prima satast aetas quae uindice
nullo sponte sua sine lege fidem rectumque colebat. poena
met usque aberant: nee supplex turba timebat iudicis ora
iui, sed erant sine in dice tuti.

238 NOTES. V. xi.

49. quaelibet urna, i.e. any panel or decuria of jnron,
not 'for quilibet index? as F. A single index would give his
award openly. Even if he put his pebble in the urn, it would
not be difficult to identify it. ferat tabellas. The proper
phrase for the juryman's taking his tablet to the urn ; cf . Senec.
Ilhet. Contr. 23 (8. 8. 7) index quam tulit de reo tabellam re~
uocare non potest. It is here used of the urn holding the votes,
but not without a distinct reference to the other sense.

50. adsessu. No one will be disgraced through sitting at
my side. There is no fear of a contagio turpitudinU Cic. Att.

I. 16. 3. The friends of a defendant sat by his side during a
trial, on the lef thand side of the basilica. Compare Cic. Plane.

II. 28 (principes ^Macedonia*) huius repentino pericalo commoti
huic adsidenty pro hoc laborant.

51. uel— uel introducing an instance; cf. m. 9 (8). 5, 7.
moulstl. He appeals to the story of Claudia Quinta. She was a
Roman matron (not a Vestal Virgin, as F. asserts : our authori-
ties, e.g. Livy 29. 14, Ov. F. 4. 313 distinctly state that she was
a matron) who had been suspected of unchastity. Her inno-
cence was established in the following way. In b. c. 204 F. Corne-
lius Scipio, the son of Cn. Scipio, who fell in Spain about b.c.
211, had the image of Cybele brought from Pessinus to Borne.
The boat conveying it got fixed on a shoal in the Tiber. The
soothsayers announced that only a chaste matron could move
it. Thereupon Claudia stepped forward, took the rope in her
hands and at once drew the vessel off. Compare the refer-
ences in later writers Stat. Silv. 1. 2. 246 non Claudia talis
respexit populos mota iam uirgo carina (i.e. with her
chastity now established, uirgo being used loosely) : and Claud.
Laus Seren. v. 28 sit Claudia felix teste dea castosque probes
sub numine mores absoluens puppisque moras crimenque pudoris,
tardam, i.e. not coming, a meiosis. See i. 8. 41 n.

52. turritae, 'tower-crowned,' adorned with the corona
muralis; see Rich s.v. and Lucr. 2. 607 sqq. (Munro). ran,
cf. i. 8. 42. mlnistra probably implies that she was ap-
pointed priestess to the goddess.

58. cui is not to be construed with reposceret : it would
otherwise be quam. The story is told in Dionys. Hal. 2. 67
* It is said that the fire went out through some carelessness on
the part of Aemilia, the Vestal who had then charge of it, she
having entrusted it to the care of one of the newly elected
Virgins who were just learning their duties. This caused s
great uproar throughout the whole city and an enquiry by the

SOTJSS. V. xi. 239

pontifices if any impiety bad been enacted touching tbe sacred
fire.' Then Aemilia after an appeal to the goddess 'tore a
strip off tbe garment which, she then wore and cast it on the
altar* They say that after the prayer the embers which had
long been cold and had not a single spark left in them sud-
denly shot out through the linen (Kapirdaov) into a bright flame,
so that the state no longer needed either purifications or a
fresh fire.' Compare Val. Max. 1. 1. 7 Maximae uero uirginis
Aemiliae discipulam extincto igne tutam ab omni reprehensione
Vestae numen praestitit, qua adorante, cum carbasum quam optU
mam habebat foculo imposuisset, subito ignis emicuit.

54. focos the altar fire. exhibuit, a semilegal word;
* produced, presented, delivered up.'

55. dulce caput, 'dear life/ <p[\ov icapa. caput brings
out the personality; cf. v. 10. Scrlbonla, the second wife
of Augustus and mother of Julia. He divorced her in b. c. 39
in order to marry Livia, though the reason he assigned was
her morum peruersitas Suefc. Aug. 62. i

56. mutatum uelis. For this expression cf. Sail. Hist.
Eragm. 1. 43 quis eademuolt? aut quis non omnia mutata
praeter uictoriamt The thought is common on inscrip-
tions, DE QVA VIR NIL DOLVIT PRAETER MORTEM. So EUT. Alo.
182 ffUHpptav flip ovk av fiaWov eirrvxys 8' taws.

57. laudor lacrimis, im. ConsoL Liv. 209 et uoce et
lacrimis laudasti, Caesar, alumnum, 465 denique laudari
sacrato Caesaris ore emerui lacrimas elicuique deo.

58. defensa, 'shielded.' It is a sufficient answer to
calumny that Caesar mourns for me.

59. nata, the notorious Julia. It must be noticed how-
ever that Augustus believed in her till long after this poem was
written. ulxlsse, 'is no more' ; cf. Plaut. Bacch. 1. 2. 43
uizisse nimio satiust iam quam uiuere, sororem, * half-
sister.' Compare fratres, v. 21 n.

60. Increpat ' complains,' with an inf. only in Propertius ;
compare rv. 9 (10). 10 increpet absumptum nee sua mater
Ityn, 'mourn that Itys is lost to her.' Ire, 'fall': the
English is more definite than the Latin.

61. et tamen emerui, imitated Ov. Am. 3. 1. 47 et tamen
emerui plus quam tu posse. generosos. The precise sense
of this word is rather hard to seize. In Ov. HaL 65 hie gene-
rosus honos et gloria maior equorum it seems to mean 'the

240 VOTES. V. xL

honour of a noble birth,' the proper rise of the word. Here
it seems rather to mean ' ennobling * than • appropriate to my
high birth/ generositatis indices. uestis. Augustas con-

ferred certain privileges on matrons who had had three
children, analogous to the ius trium liberorum in the case of
men. So Dion Cass. 55. 2 says (of Livia) is rat fnrrtpas rat
rpls rcKovaat i<reypd<pii ; so Consol. Liv. 151 ius matris ha-
bemus ab uno. Hiibner conjectures the uestis to be a stola,
as stolatab feminae is frequent in inscriptions and marks an
honour given during life; as we also find feminae stolatae
qvondam. There is an analogous phrase in the case of un-
married women, viaeo dextrata. Augustus afterwards nulli-
fied the effect of these regulations by conferring the ius trium
liberorum on those who had not fulfilled the conditions, e.g.
Livia.

62. sterili. For I have left three children behind. The
idea of v. 61 is carried on. rapina, iv. 7. 59 n.

63. Leplde, see supra introd. Paulle, see supra
introd. leuamen, • solace.' Yirg. A. 3. 709 hie omnis
curae casusque leuamen amitto Anchisen.

64. uestro slnu, i.e. the order of nature was not reversed,
I did not close their eyes. Compare Callim. Fragm. koI /m
t4kv iyivovro 5v' dpcreua Kairtfivtr' iicelvwv ev yrjptas ipl
%epolv. Observe the sing, sinu; sinibus is not used in this
sense.

65. sellam geminasse curulem, obtain a second curule
office, i.e. the consulship (see supra introd.). We are not told
what his first was.

66. laeto. If the line is genuine, perhaps this is the best
restoration of the ms. facto.

67. specimen, in whose birth is reflected your father's
censorship ; cf . Tac. Ann. 3. 4 nihil Tiberium magis penetrauit
quam studio, hominum accensa in Agrippinam quam deciu
patriae, solum Augusti sajiguinem, unicum antiquitatis speci-
men appellarent, and Auson. Parent. 23. 2 amissi specimen
qui genitoris eras • the mirror or picture of your lost father.'
nata does not necessarily imply that she was born during the
censorship, though it may do.

68. fae teneas * take care thou keepest to a single lord':
the/oc makes the command a gentler one.

FOTES. V. xi. 241

69. lerie, an unbroken line of descendants. Ov. M, 18.
29 sic ab Ioue tertius Aiax ; nee tamen haec series in causa
prosit, Aehiui, faldte. Compare Leonidas Tar. Anth.
Gr. 7. 648. 6 fo^i» trri/Xc&reuro* xaxfo 8' aarvkos IteaQai oXko*. P.
quotes an interesting passage from the younger Pliny, Ep. 4.
21. 3 cut nunc unus ex tribus liberis superest domumque pluri-
bus adminiculis paulo ante fundatam desolatus fulcit ac
8U8tinet. Compare Senec. Cons. Marc. 15. 2 fulcire domum
adoptione, Stat. Theb. 1. 394 gemino natarum pignere fultus,
and in Greek Eur. Iph. Taur. 57 <rrv\ot yap otxcov vdi54s efoiv
afxreves. So we say the * pillar of the house.* cumba,
Charon's boat rv. 18. 24.

70. solultur, i. 8. 11 n. The rest of the line is read in
the msb. uncturis (or nupturis) tot mea fata ma lis. First
malis is out of place, as Cornelia knows of no ills impending on
her family, and it has therefore been corrected to meis 'so
many of my blood.' uncturis too has been seen to be corrupt
and changed to aucturis. It is possible however to translate
it 'as so many of my children will anoint my dead body/ — a
ludicrous image and one which is false to fact, as such offices
to the departed were performed in Borne by the undertaker's
slaves : see Becker's Gallus p. 507. It is however worth noting
that the forger of the Consolatio ad Liuiam apparently had it
in his ms. For he makes the Empress Li via herself say (v. 9)
tene meaepoterunt ungere, nate, manus 1 For aucturis Sil. It.
3. 708 is compared Sidonios augebis auos, 'you add fresh lustre
to the fame of your ancestors.' Compare also the lines of
Tibullus 1. 7. 55 et tibi succrescat proles Quae facta parentis
augeat et circa stet ueneranda senem. This suggests the cor-
rection of the remaining corruption, fata is a quite unsuitable
word here, and Hertzberg's examples are not to the point. I
would read therefore facta. The two lines will then run ' So,
my children, pillar our house with an unbroken lineage. For
me the bark is loosed, nor am I loth, since so many of my
blood will add fresh lustre to my deeds.'

71. merces extrema, 'the final reward.' trlumphl,
in a metaphorical sense, as in el. 8. 17 Appia, die quaeso
quantum te teste triumphum egerit.

72. emeritum. It is doubtful whether Cornelia means (1)
that her remains (rogum v. 8 n.) have 'deserved' (perhaps 'fully
deserved') the praise, or whether (2) that her course of life is
over, that she has 'served her time.' ' For emeritus used abso-
lutely in the former sense Hertzberg compares Ov. P. 1. 7. 61
emeritis referendast gratia semper. For the latter I know of

P. P. 16

342 NOTES. V. xi

no precise parallel ; but the use ol fondue, def undue (so. officio)

while observing that we have already had antra) in the sense
of 'winning and deserving' in a™, supra v. 61. liber*

f&nut, free from the restraint of her presence, impartial ; Ov.
Met. 15. 852 hie sua praeferri gvamquam netat acta paternu,

libera Jama lama nullisqut obnoxia ittaii praeferet intuitu*.

73.
pignut

74. The metaphor ia the same aa in Cie. Yerr. n. 1. 44. 113
cur hum: dolorcm cineri eius atque ossilnu inusiisti! The
thought is given by the line of dray's, Even in our athet lire
their wanted fires. splrat, fj. It has a special appro-
priateness to the delicate mobility of flame, cf. Ov. M. 8. 355
lax micat ex oculis tpiratque t peetort Jlamma. Innate.
The metaphor may be from the branding of cattle or perhaps
from encanstio painting. Peerlkamp's interpretation 'rmbnrnt,'
aa in Locan 8. 786, ia worth attention.

75. 'Be a mother to them.' Ear. Ala. 877 vi rvr -yeroi
ToTffi' irr t/ioS HV"1P riicoir. Liyy makes EomnlUH Bay to the
Sabine women 1. 9. 15 eo melioribut uturae uirit quint an-
nixurutpro te quisqut tit at, cam tua uiee functus officio
sit, partnium etiam patnaeque expUat deiiderium. mater -
nls ulclbus, ' a mother's part.' The plur. is very rare in this
sense. The adj. for the gen. of the subst., matrit, is like Hor.
Epod. 5. 87 uenena magnum fas nefasque turn ualent comartere
humanam uieem ('like mere men,' hominum uicem).

76. collo, cf. Or. Her. 8. 91 non ego captaai breuibut ttut
colla laceHU nee gremio sedi sarcina grata tua. In another
place Ovid earicaturea the whole pusaags by applying it to his
books, Tr. S. 14. 13 aqq. Palladis exemplo At me tine matre
areata carmina sunt, stirpt haec progenietqae meatt. hane
tibi commendo: quae, quo magie orba pareute, hoe
tibi tvtori sarcina maior trit. tret mihi tunt nati ctmtagia
nostra tecuti; cetera fae curat tit tibi turbapalam. amnli
turba^tota damns i. 78, tota catena v. 98. Compare m. 29.
4. ferenda, so all the mss. fouenda, the alteration of
L. Mliller, ia both unsuitable and unnecessary.

phatio 'the father's kiss. 1 nutria. For

the elliptical gen. cf. Sen. Med, 958 otcalit pereant patrii:

NOTES. V. xL 243

78. onus, Ovid's sarcina. Comp. Yirg. Aen. 12. 59 in te
omnia damns inclinata recumbiu The metaphor is still taken
from a pillar.

79. Compare Plin. Ep. 3. 16 cum diu eohibitae lacrimae
uincerent prorumperentque, egrediebatur. tunc se dolori ddbat
satiata sicds oculis composite uultu redibat, tamquam orbitatem
forts reliquisseU For the periphrastic future doliturus erls
see Introduction. sine testllnui 1111s, so. doleto. Compare
el. 9. 13, where too there is an ellipse, nee tine teste deo, and
Introduction.

80. oscula falls. To us it seems most natural to take this
'to elude their questioning kisses/ to deceive your children
when they kiss you by hiding the traces of your tears. So in
Seneca I.e. on 77 osculis pereant pa trie (i.e. patri oscula-
turo). But it is probable that Propertius meant oscula to refer
to the father, not to the children, * to counterfeit kisses with
dry eyes,' i.e. to hide your grief under a cheerful kiss. For
this use of fallere 'to assume falsely* compare Yirg. Aen. 1.
683 tu faciem illius noctem non amplius unam falle dolo et
notos pueri puer indue uoltus. Allied uses are those in Prop.
v. 1. 81 fallitur auro Iuppiter ' misrepresented ' and v. 5. 14
et sua nocturno fallere terga lupo 'disguise her form.'
genls, probably 'eyes,' not 'cheeks': cf. el. 5. 16 cornicum im-
meritas emit ungue genas,

81. fatiges. ' Be content, Paullus, to weary the nights for
me/ i. e. to pass weary nights in mourning for me. Compare
Yirg. Aen. 8. 94 olli remigio noctemque diemque fa tig ant

* night and day they ply the weary oar.' By a pathetic fallacy
a period of time is represented as being affected by what takes
place in it. It is a survival of the time when time and space
and other abstractions could only be conceived as personal
and as invested with personal attributes. The picturesqueness
of the use makes it dear to poets. Thus Keats speaks of ' the
frozen time.' And Aeschylus makes Clytaemnestra say that
she saw more than could happen in 'the time that shared her
sleep,' opuxra xXeto tou j-wcvdovTos xpbvov Agam. 894. Our
own poet has the figure frequently, e.g. v. 8. 60 insana nox is

* a night in which madness is let loose,' a sort of Walpurgis
night ; ' malicious night ' watches Paetus clinging to his spar
iv. 6 (7). 53.

82. aomnla. The whole passage reminds us of an epigram
of Meleager Anth. Gr. 5. 166 dpa /dm cropyijs i/ui Xelfaya

16—2

244 NOTES. V. xi.

k*\ to tptXij/ia nvqyMcvvov iftvxfi? fl^Xrer' iv eUaala; a*pd y
(■X€i axrfKOi.ro. rd Sdxpva tc&fidv dveipor rpvxaTr&Trjr art/mm
&lx<j>ipa\ouaa <fn\et; Cf. Eur. Ale. 348. a in fadem meam
credita, i.e. * believed to represent me,* illusive images of me;
a very condensed expression, in fadem is elsewhere used for
' in the likeness of anything as iv. 22. 14, &c.

83. secreto, i.e. in the cubiculum where the simulacra
would be placed. simulacra, my image in marble or wax.

See Eur. Alcest. 1. c, Ov. Her. 13. 151 sqq. esp. 156—8 adde
sonum cerae: Protesilaus erit, hanc specto teneoque sinu pro
coniuge uero, et tamquam possit uerba referre queror.
Sil. It. 8. 91. The plur. probably refers to more than one;
cf. Aesch. Ag. 416 c&fiAp<jxav 8e Ko\o<r<ruv fyflercu xdpts dv&pL

85. aduersum lectum. The lectus genialis which was placed
in the atrium fronting the door and remained there till a new
marriage was contracted when ' the sternere took place again '
Becker Gall. p. 166; cf. p. 247. mutarit= 4 has seen the
couch changed' : a bold use.

86. sederit. Compare Laberius fragm. 30 materfamilia*
tua in lee to aduerso sedet. cauta, ' circumspect, '
careful to avoid offence.

87. conlugium=co7HU#m as ilia v. 88 shews. Compare
iv. 12 (13). 19 et eertamen habent leti quae uiua sequatur
coniugium. laudato. L. Miiller's alteration placati
ferte is quite unnecessary, laudare, like Gr. ixatveiy, id not a
strong word ; indeed it sometimes means * to have nothing to
do with ' as in "Virg. G. 2. 412 laudato ingentia rura, exiguum
colito. Thus there is no anticlimax; and besides we want
both the children's expressions and their actions mentioned.
Cornelia tells her sons to speak with proper respect of her
successor and not let their conduct be at variance with their
words.

88. capta 'won.' She will own herself beaten and yield
to your love. dabit manus, like a willing captive. So
Hor. Epod. 17. 1 iamiam efficaci do manus scientiae and Or.
F. 6. 800 dicite, Pierides, quU uos addixerit isti cui dedit
inuitas uicta nouerca manust

89. priori, • her predecessor.'

90. 'She will turn the free word to an offence against
herself. 1 libera uerba, unrestrained, outspoken praise.
Compare the use in i. 9. 2.

NOTES. V. xi. 245

91. mea umbra, i.e. if he shall continue faithful to the
dead. Compare for the sense Virgil Aen. 4. 28 Me meos primus
qui me sibi iunxit amoves abstulit : ille habeat secum seruetque
sepulcro and v. 552 non seruata fides cineri promissa Sychaeo.

92. tantl, i.e. worth that sacrifice.

93. sentlre, to observe and so to provide against. The
reading is supported by Ov. A. A. 3. 59 uenturae mem ores iam
nunc estote senectae,

94. ad coras, a sort of proleptic use * to cause him care ' :
cf. Ov. F. 3. 482 in lacrimas cognite Bacche meos, 'to cause me
tears.' n&cet=pateat, 'be open or available' for their
passage.

95. So Ovid M. 7. 168 deme meis annis et demptos adde
parenti, Tibull. 1. 5. 63, 64 uiue diu mihi, dulcis anus ; proprios
ego tecum, sit modo fas, annos contribuisse uelim. accedat
ad annos, imitated Ov. A. A. 2. 113.

96. prole mea, one of the most difficult ablatives in
Propertius. It is probably • by the conduct of my offspring,'
through my offspring being what they are. Cf. Introd.
sic, amid these proofs of their affection.

97. bene habet, icaXcfr fyet. The words of resignation.
Compare Stat. Theb. 12. 338 sed bene habet, superi : gratumst :
fortuna peractast. mater. ' I have never put on a mother's
weeds of mourning,' I have never lost a child. A great piece
of happiness ; cf. Corn. Nep. De Beg. 2 (of the elder Dionysius)
7ieque in tarn multis annis cuiusquam ex sua stirpe funus uidit.

98. nenlt In exequias. So Ov. F. 2. 845 fertur in exe-
quias animi matrona uirilis. The in is often omitted on the
analogy of the cognate accusative in exequias prosequi, exequi
funus.

99. causa peroratast, the usual expression for winding
up a speech at a trial ; cf. Cic. Cael. 29. 70 dicta est a me caussa,
indices, et per or at a, ' surgite, rise to give evidence,
dvdprfre, Seneo. Controv. 27 (9. 4. 7) grauior testis esse solet
qui a reo surgit, testes, her weeping husband and
children who have virtually been appealed to in the whole pre-
ceding poem.

100. dum, rather 'till' than 'while,' the way it is gene-
rally taken. Cornelia tells her witnesses to rise till her judges

246 2T0TES. V. xl

are satisfied and give judgment in her favour and the reward
her life has earned. grata humus, the earth as including

the 'underworld,' ol x^ "*<>*• So TeUus is appealed to in
i. 19. 16. Compare Eur. Hero. Fur. 45 xloyot fttXauxw
6p<f>vTjv elo-tpaivev, and Prop. n. 6. 31 a gemot in terris, Ac.

101. morlbus et caelum patult. Ennius makes Scipio
say ap. Senec. Ep. 108. 34 si fas endo plagas caelestum adscen-
dere cuiquam, mi soli caeli maxuma porta patet. Compare
for the sentiment Hor. Od. 8. 2. 21 sqq. and in a different con-
nexion 4. 2. 23, 24 (of Pindar) uires animumque moresque
aureos educit in astra nigroque inuidet Oreo and compare
iv. 18. 34 n. aim dlgna. Mr Pretor has suggested to me
that sum would he more in keeping with Cornelia's self-asserting
character, and this may be granted. But sim is probably
genuine, and means 'may my deserts make good my title to
be rewarded like my ancestors.' We have the subj. where the
ind. might be expected in the very similar passage iv. 17 (18).
31 sqq. at tibi nauta pias hominum qui traicit umbras hue
animae portet corpus inane tuae qua Sieulae uictor telluris
Claudius et qua Caesar ab humana cessit ad astra via.
merendo, 'by my deserts': absolutely, as in Yirg. Aen. 6.
664 qiiique sui memores alios fecere merendo,

102. honoratls aula, the dat. of motion towards, • to the
abode of my distinguished ancestors.' Cf. i. 20. 32 that
Hamadryasin n. The mss. read equis or aquis. But the
dative auis is justified by the imitations in the ConsoL Liv. 125
tumulo portaris et igni, 188 nee poscunt tura ferenda rogo
and v. 330 Me pio (si non temere haec creduntur) in aruo inter
honor atos excipietur auos. Compare v. 162 ad ueteres
conditus ibis auos. osaa, as in v. 20. uenantur,
by the boat which conveys the good eh 7. 56 sqq. and I.e. in last
note. This led to the alteration aquis.

ADDENDUM IV. 7. 49. p. 165.
Professor Gildersleeve (American Journal of Philology, iv.
p. 210) points out that to suppose that the passage refers to a
real chamber or bed belonging to Paetus is inconsistent with
pauper v. 48. "Non tulit, he writes, is o&k tr\ii=non it fuit
qui ferret, from which we get for the contrast sed is fuit qui
mallet. ^ This Paetus was not the man to bear the sound of
the piping storm, but he was the man (to have) his head
propped on feather pillows of shot colours in a chamber (ie.
stateroom) of thyian wood or (of) Orioian terebinth." Tor this
use of BoKapLot cf. Athenaeus 5, p. 207, who tells us the ship
which Archimedes built for Hiero had a OaKa/tos with doors of
ivory and thyon wood.

NOTES.

247

«j

%.*-

a

APPENDIX A.

We have no existing ms. of Propertius that can be traced back
earlier than the 14th century: and it is probable that all go
back to a single archetype.

The Codex Neapolitans (N.) has of late generally been con-
sidered to be the best. But its claims have been lately attacked
by Prof. Baehrens (in his Preface, p. vii.), who has been replied
to by Heir Leo (Eh. Mas. 31, p. 431), by Prof. Ellis (American
Journal of Philology 1. p. 389), and Prof. A. Palmer (Henna-
thena, Vol. iv. 40 — 72). It is beyond my limits to enter
upon this controversy ; so I content myself with observing that
it seems to me that Baehrens* views require very considerable
qualifications. It is probably to be assigned to the 14th cen-
tury.

Other mss. are the Codex Vossiamu (about 1360, imperfect),
the Florentimu (end of 14th or beginning of 15th century),
Ottoboniano-Vaiicanus (end of 14th century), Dauentriamu
(1410 — 1420). All of these have been recently collated by
Baehrens ; and from, them he reconstructs the archetype which
he calls O.

Besides these may be mentioned the Perusimu (1467), which
once belonged to Scaliger, and of which there is a collation in
the edition of Mr Palmer, its rediscoverer, and the Gromnganut
(G.) which was formerly held in high esteem, but has lately
fallen into disfavour, owing to its numerous interpolations.

APPENDIX A. 249

That the text of Propertius as preserved to us in these mss.
is far from perfect, every scholar will concede. It is none the
less clear, however, that in many quarters there is a disposition
to make it out to be more corrupt than it is, and to apply
alteration in place of interpretation. I will enumerate some of
the chief sources of its mistakes.

(i) Clerical errors. These are chiefly due to confusions of
the cursive character, and shew that the lost archetype was
written in cursive, e.g. stem/us foiflemus, n. 1. 2.

But some of the corruptions go back to an earlier stage, and
shew uncial corruptions, e. g. n 1. 5 coots for coccis; v. 11. 30
aeba for apba; iv. 18 (17). 38 pvndet for tvndet.

(ii) Transposition*.} Of these I have spoken. Introduction
(iii) Lacunae. J (PP- *1™» S( iq-)-

(iv) Interpolations. There are very few of these. I am
convinced of the spuriousness of only two passages, iv. 3. 55, 56
(from i. 2) and v. 9. 41, where a line has been lost. In certain
cases injudicious editing has caused lines to appear in un-
suitable positions.

Thus in in. 32 (26). 61 sqq. we have two versions of the
compliment to Virgil, as Mr Munro has acutely pointed out ;
n. 1. 37, 38 is a genuine Propertian distich, out of place in its
present position. Perhaps it was written in the margin of the
poet's ms. This may have been the case too with rv. 6 (7).
23, 24 and note.

I have added a comparison of the readings in this edition
with those of Baehrens and Palmer.

ADDENDUM.

Since the first edition appeared the comparative merits
of the mss. have been the subject of a careful examination
by Solbisky (Comm. Ienenses n. (1883)). The division into
books has been discussed from a new standpoint by Th. Birt
(das antike Buchwesen, pp. 413 sqq.), who makes it probable
that the poems consist of a single book published separately
(the Cynthia monobiblos) and four books published together
(tetrabiblos syntaxis). For a fuller account see the article
Propertius in the Encyclopaedia Britannica (new ed.).

250

APPENDIX A.

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17—2

APPENDIX B.

ON THE MEANINGS OF FULCIRE AND
ITS COGNATES.

I rave already pointed out the true interpretation of this
word in Prop. i. 8. 7 in the Journal of Philology, ix. p. 64.
But as I see that Mr Palmer, in his critical edition of Pro-
pertius, does not think this explanation worth even a men-
tion, and prefers to put in his text what I had hoped was the
obsolete conjecture, sulcare 1 , I maybe excused inserting here
some more detailed observations on the word which I have hai
in manuscript for some time, and which I trust may set the
matter completely at rest I feel that at the present time I
need no apology for resting them upon an etymological treat-
ment.

Corssen, in his Aussprache und Betonung (l pp. 149, 476),
derives julcio from root dhar, to hold or make fast, prop. But
I think that I can shew that such was not the original meaning
of the word, and, by establishing a correspondence between its
uses and those of farcio, can bring it into relation with the
words disoussed by Curtius in his Greek Etymology, No. 413.
There he proves the existence of an Indo-European root bhbak
or bhark (the B and K often appearing as I and g) with the
meaning of * pressing ,' found in <ppd<r<r* (for fpax-ju), <pptky-rv-
fu, Lat. frequ-ens, Lithuanian bruk-jL

The change of fare to fulc shews regular Latin weakenings.
For a becoming u (through an intermediate o) before i, see
Corssen u. p. 149 seqq., and for I replacing an earlier r, Corssen
i. p. 221. We must now examine the meaning, fuicire pl&inh-
means to 'press * in Prop. 1.8.7 te pedibus teneris potitat
fmlcire pruinas tu poles insolitas, Cynthia, fern niuest and
in C^lsus 7* 19 Unamenta super wmfulcienda sed leuUer tomtom

» Rhtmaml that aay om ob reooncfle rafearv wit* mMw f tnrrit
Agaia 'ptoqghing' is Mt a reir appropriate word, mnkaa in de e d w» tmpptm »

novdrilt Bm it fa ttiU «aor» mtnwtfcmf to te» the

met* gumitm «««« ir* ftrmwue. *to go the

l*w»> Mm* t^t a>ctn|r conifanriL To "fo tlw wfcofe bos* wooid be a

FULCIRE AND ITS COGNATES. 261

ponenda sunt. So in Virg. Eel. 6. 53 ille latus niueum mo Hi
fultus hyacintho, where it is absurd to say a bull is propped
or supported on hyacinths, but perfectly appropriate to say he
presses or is pressed by them. So, too, in Lucr. 2. 100 partim
interuaUis magnis confulta resultant, rebound after being
pressed together. So probably effulcio in Appul. Met. 2. 34
stragulis aggeratis in cumulum et effultis in cubitum. From
the original meaning of * pressing ' we get two chief offshoots :
A, pressing out, stuffing; B, pressing together, making firm,
strengthening.

The compound infuleio is particularly worthy of attention.
It presents uses exactly corresponding to those of infarcio;
but uses which are apparently later for infuleio than for in-
farcio, and which form a passage from the original meaning to
its first modification A. Compare Columella 12. 53. 2 in eas
partes largum salem infarcito with Suetonius Tib. 53 rur-
sus mori inedia destinanti per uim ore diducto infulciri cibum
i-ussit; and in a metaphorical sense Cicero Orator 69. 231 in-
far ci ens uerba with Seneca Epist. 106. 5 aliud {uerbum)
infulcire.

Still nearer to the ordinary meaning of farcio is the use of
qffulcio in Appuleius Metam. 1. 10 uulnus spongia offul-
ciens, Met. 4. 70 multis laciniis offulto uulnere and
Persius (or Nero?) 1. 78 Antiopa aerumnis cor luctificabile
fulta, 'stuffed with griefs' (compare cor dolis refertum 1
which is the Greek KpaSiij SoXoiai Tretppayfiivrj), not, as Gifford,
'propped with dolorifick teen.'

The sense B, fortify, secure, is not, so far as I know, found
in farcio. But we have it in the Greek <f>pcur<r<a as in Horn.
Od. 5. 256 (rxetiL'ijv <ppa%€ jkrr4<r<rL (compare <pdp^ai ir6\i<Tfxa
Aesch. Sept. 63), &o. : and in the Latin fulcio in Aen. 8. 227
fultos obice posies, Ov. A. A. 2. 244 adposita ianua fulta
sera.

Other meanings of fulcio need only a passing mention.
They are either slight modifications of those already referred
to or else of that of prop, its commonest meaning, which is
derived from that of press 2 , a prop being something pressed
downwards and pressing upwards, and a fulcrum a point of
pressure.

1 Quoted by Curtlug 1. c

1 By no means vice versa as Mr Paley, note on Propert I.e.

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2 °

INDEX TO THE NOTES.

The first number gives the page, the second the verse. The
proper names in italics are those 'writers whose coincidences
with Propertius are quoted in the notes. See Introduction,
Chapter V., Literary History.

a (interject.) 196 14

ab 195 5 6; 204 48

Abl. 51 36; 52 3; 61 14; 61
15; 64 4; 77 31; 81 34; 86
27; 87 34; 88 41; 104 3;
125 6; 127 16; 136 39; 151
13; 151 34; 157 43; 164
40; 165 50; 167 67; 174
16; 188 8; 2O236; 213 23;
245 96

Abl. descriptive 130 5

Ablatives two 90 48

Abstract for concrete 95 15

acanthus 172 14

Aoc. 8840

Aoc. of part oonoerned 112 28

acer 78 26

acta 105 6; 129 a

ad 203 39; 221 70; 226 a; 245

94
ad ueium 134 26

additos 172 13

adferre214 31

Adjective lor adverb 84 12

adfigareOO 11

Adryad8s94i2

23850

244 85

Aeacus 230 19
Aemilia 238 53
aequor scribendi 169 3
aera 227 7
Afer (adj.) 234 30
agger K>4 2
ala 216 47
ala, extrema 98 29
Amphionins 75 10
Anacoluthon 183 7
angnstus 71 33
Anienus93 8
annua 119 1 1
animosos 170 9
animus 91 2
ante 71 36
ante... donee 79 29
Antfloehus 135 33
Antonins, L. 103
antrum 47 11
ApeUens56 22
aperiie 143 a

ApoOamau Rkodius 90 sqq.
aptas, with dai. 213 22
AqnUo 109 4
Aqmkmioa 97 25
Arabia 120 16
Arcadras48 14

INDEX TO THE NOTES.

265

ardor 93 6

Arganthus 99 33

Argo 95 17

argumentum 171 13

argatns 84 16

Arionius 139 18

Ariosto 128 20; 131 12

Armenius 77 19

Ascanius 92 4

Ascraeus 122 25

at 49 19; 60 10; 88 41; 111

17; 140 1; 166 46; 183 7
Attalicus 185 19
Athamantidos (gen.) 96 19
Athamanus 211 15
atque66 15
atque unelided 138 8
Atracius 69 25
Attalicus 130 6
Attraction 137 5
aucupium plumosum 202 34
audacia 118 5
Auernns 182 1
auertere with dat. 192 9
angere facta 241 70
Augustus (adj.) 213 23 '
aura 102 50; 142 15
aurum fixum 188 7
ausim 112 24
Ausonius 178 39
Autaricus 69 25
auxilium 50 26

Bactra 149 16
Bion 136 37 39 40
blandus 72 40
bona 53 6; 184 16
Borysthenidae 116 18
bustum 132 17

cadere 87 34
cadus 210 8
caelator 207 6*1
caeruleus 204 43
Calamis 171 10
calamus 203 37
CallimachuB 146 1

CaUimachus 133 23; 145 14;

158 49; 165 46; 166 59; 168

2; 240 64
campum dare 118 2
Candidas 221 71
candor 192 8
canere 115 1 1
Cannensis 154 9
capere 46 1
Caphareus 163 39
caput 169 4; 186 26; 239 55
carmen 57 27; 63 10
Castalia 154 13
Catullus 160 10
cauus 86 27
cedere in astra 187 34
celatus 195 1 1
Centauricus 217 49
Cepheus (adj.) 222 78
cera 209 3
cerasus 200 15
Ceraunia 67 19
certe 113 1
certus 72 45
cessare 189 15
Ghaonius 74 5
Cicero 69 27; 74 1 ; 107 3 4;

111 20; 218 52; 24274
Cilissa spica 221 74
cinis 123 6
citatus 68 23
cithara 119 10
Claudia (Quinta) 238 51
Claudian 160 8; 193 19; 222

82; 232 23; 23430; 237 4 3
Goa 201 23
cogi 47 8
cogitare 49 17
colligere 176 29
commodus 140 4
Comparative 54 10
componere 76 13
concha 72 39
eoncurrere 174 17
condere 168 72
conectere 112 23

266

INDEX TO THE NOTES.

oonfessus 222 79

oonscias 184 20

considere 69 25

Consolatio ad Liuiam Augn*~

torn 130 4; 161 17; 185 21;

241 70; 246 102
consors 104 1
contingere 46 2 ; 72 43
contundere 47 10
Copa 199 13; 200 16
copia 76 15
corbis 201 28
Cornelia 224
corolla 82 7

coronatus 158 47 ; 193 15
corpus 102 48; 162 25
costum 209 5
Crassi 120 14
cradelis with dative 92 4
cumba 241 69
cupere 77 19
cupidus 55 1 7 ; 70 29
cora 51 35 ; 125 4
Curii 153 7
currus 228 1 1
currus inauratus 82 3
curuare 163 29
Cybebe 238 51
Cyrenaeus 209 4
Cytinaeus 49 24

damnare with dat. 212 21
damnatae noctes 229 15
Dante 155 22
dare 71 37
dare manus 244 88
dare terga 170 6
dare terga fugae 205 54
Dat. 48 14; 60 8; 85 18; 96
20; 143 1 ; 187 1 ; 246 102
Dat., predicative 113 30
de 62 26

decori esse 233 29
decorus esse 200 22
deduoere 88 41
deesse with inf. 82 7

defendere 83 9
deflere 84 15
delphinus 189 17
dens 144 8
dicere 73 1
differre 90 48
di melius 220 65
dirae 196 17
discedere 160 9
diuersus 156 33
docilis 207 63
dolare 206 59
dolus blandus 189 18
Doras 178 44
Dryade8 101 45
durum 94 13

effectus (plur.) 188 10
effultus 165 50
egerere 215 34
egredi 96 18
eleuare 66 12
Eleus 174 17
Elis 71 36
emeritus 242 72
Eons 86 24; 191 7
ephemeris 189 20
equidem 145 13
ereptus 105 7
ergo 159 1 ; 187 1
Esquiliae 190 24
esse 69 27; 133 22
est quibus 174 17
et 217 51
Eubuhu 124
euentus 204 48
Euenus 55 18

Eumenides 232 22
Eurymedon 179 48
ex 179 51
exoantare 158 49
excidere 159 7
exoipere 138 10
externus 56 20
extremus 102 50

INDEX TO THE NOTES.

267

facere (neat, with dat.) 149 20

faces perdere 115 8

facilis 77 23

fallere 243 80

falx 201 25; 206 59

fastus 196 15

fatigare noctes 243 81

fauilla 76 18

femina (as adj.) 144 4

ferire 158 50

ferre oscula 98 28

ferre tabellas 238 49

ferri 108 1

ferrum et ignis 50 27

findo 177 35

finis (fern.) 85 21

flare with ace. 157 42

fleeter e iter 172 14

flere 75 10

flere, constructions with, 141 7

flumina 101 43

fores 85 18

forma 172 13; 206 61

formosius 54 1 1

formosus 100 41

frangere 236

f rater 232 21

fraus 210 9

fulcire (Append. B) 65 7 ; 241

69
fulcrum 130 5
funera 226 3
funis 65 1 1
IU8CU8 222 78
Fut. 189 15
Fut. perf. 93 8

Galatea 67 18
Galli 144 9
Gallicus 135 32
Gallus(a)58; 90; (b) 103
Gen. 46 3; 49 19; 54 8; 75

10; 82 2; 95 17; 97 24;

130 4; 134 29; 140 6; 145

10; 154 15; 166 59; 178

42; 180 54; 216 43

Giganteus 93 9
Gnosius 126 10
Gorgoneus 156 32
gradus 89 42
grauis 180 56
gyrus 155 21

habere 229 13

Haemonius 118 2 ; 150 26

Hamadryades 98 32

hamatus 126 9

harundo 202 33

haurire 100 43

hedera 112 26

hiare carmen 145 14

Hilaira 55 16

Hippodamia 71 35

hiscere 153 4

hoc unum 220 64

Homer 133 22 ; 167 65

Homerus 76 1 1

Horace 71 32; 111 16; 120
16; 158 44; 174 21; 184
16; 188 3; 189 23; 199 13;
206 59; 226 1

Horatius (adj.) 153 7

horror tremulus 61 15

hortus 203 42

hospitium 94 10

hostis 111 19

humana uia 186 34

humus 246 100

Hylaeus (adj.) 48 13

Hylas 90

Hylleus 69 26

Hypallage 89 42; 93 10

iacere 74 3
Idaeus 150 26
Idalius 219 59
igitur 64 1; 112 27
ignotus 59 5 ; 95 15 ; 105 8
Ilion and Troia 151 31
ille 48 12
imago 126 13
impHcare 229 16.

268

INDEX TO THE NOTES.

improbus 47 6

inl80 6o; 193 19

increpare with inf. 239 60

increpitare with dat. 139 15

India 120 15

Indicative for subjunctive 111

16
indocilis 55 12
iners 168 72
infestus 66 14
Infinitive 48 12; 50 18; 56

23; 68 23; 74 5; 79 28;

82 7; 83 11; 131 12; 148

Inf. for supine 97 24

ingredi (with inf.) 147 3

iniquus (subst.) 69 27

iniuria 195 7

inops with inf. 121 29

insinuare 176 28

insolitus 65 8

instare (with inf.) 97 27

inter repeated 145 1 1

inuitus 87 32

Ionius 137 2

irrisor 74 1

iste 73 46; 80 32

index and quaestor 230 19

iugo, ex aequo 170 8

iuneus 204 44

Iuno domina 111 17

Iuppiter 213 23

iura dare 230 18

iusta 160 9

Juvenal 135 33

lectus 123 3

legere 93 7

Leonidas Tarentinus 105 7 ;

159 6
Lepidus 240 63
leuare 81 34
Leucothoe 138 10
Libones 234 31
liquor 233 24

litus 56 18
liuor 70 29
Livy 115 8; 170 50
longae xnanus 167 60
longaeua senecta 135 31
longus 129 3
Lucan 163 31
Lucilius (Aetna) 87 29
Lupretius 65 25
lunare 213 25
Lycius 152 38
Lycomedius 204 51
lyra 215 36
Lysippus 170 9

Mamurriu8 206 61
manes 136 41
Manilius 137 6; 155 19
mansuetus 76 12
manus 78 24
Marcellus 181
Marianum signum 157 43
Martial lte 2$; 165 50
medicina 53 7
Meiosisl08 2; 238 51
Meleager 46 1 4 ; 50 29; 6330;

127 15 18; 128 2i; I9213

14; 243 82
mens bona 193 19
Mentor 172 13
mercatus (pass.) 53 5
merito 75 7
Meroe 222 78
metus 217 50
Milanion 47 9
militia 104 4
Mimas 162 22
Minois (adj.) 232 21
Minuae 92 4
mi*utus 136 42
Misenus 182 3
miser 58 32
missus 148 13
mollire 237 41
mollis 96 22; 22171
monumenta 211 17

INDEX TO THE NOTES.

269

Moschus 125 6; 126 13
mulier 191 1
mundas (subst.) 212 19
munu8 634; 131 14
mutua 63 30
Mygdonius 210 8
Mys 172 14

nam 150 25

Nereus 213 25

nescius 85 20; 100 41

ni for ne 114 3

nigrae harenae 223 83

Nireus 186 27

nixus 87 33

nomen62 26; 79 28; 210 12

Notus 214 28

nouns 70 30; 8841

noxa 210 9

nullae (dat.) 99 35

nullus 55 14 ; 62 22

numerare aetatem 161 17

nusquam 127 15

ob 138 15

obnoxius 56 21

occultus 89 94

occurrere 92 3

ocellus 60 1 1

obserare 227 8

obstrepere 89 46

Oetaeus 151 32

omnia rerum 170 7

onyx 132 14

operosus (with dat.) 211 18

opportunus (with dat.) 200 21

ora 93 9

orbis 152 39 ; 209 6

orgia 147 4

Oricius 165 49

Oricos 67 20

Orithyial61 13

ornare 52 1

Oronteus 53 3

Ortygia 144 6

osculum 88 42

Osoos 207 62

Ovid 46 1 3; 48 16; 50 27;

53 6; 54 8; 56 20; 57 28;

5829; 67 18; 70 28; 75 8;

77 21; 80 33; 89 4 55 HO 14;
114 7; 115 9; 115 12; 117

19; 118 4; 122 1; 131 8;

137 6; 161 30; 166 31 32;

167 39; 160 11; 161 18; 163

3 4 ;166 56;166 5p;168 6 9 ;

169 4; 184 17; 186 32; 192

10 14; 200 19; 201 25; 223

83; 237 48; 239 61; 24595

Oxymoron 86 26

Pagase 95 1 7

PalatinuB 216 44

paludosus 222 77

Pandionius 98 31

par 59 2

parcere 176 29

pariter (with dat.) 188 2

Parrhasius 171 12

Part. fut. 69 26

Part, past 49 19; 2274

Part., predicative use of, 114

6
Parthenius 47 1 1
paternus 197 2 ; 177 37
pati 66 13
patiens 87 29
paulatim 164 41
Paullus 240 63
Pegasides 149 19
Pege 99 33
pelagus 211 17
Pelopeus 216 33
Pelnsium 180 55
penitus with comparative 85

17
per 176 26; 223 84; 233 29

percutere 86 28

peregrinus 63 4

Perf. 199 11

Perf. infin. 48 15

Periphrastic fut. 243 79

270

INDEX TO THE NOTES.

perire 125 4

Permessus 122 26

perorare 245 99

perpeti95 15; 107 7

Perusinus 107 3

Petrarch 109 7

Petronitu 63 30; 148 13; 167

petulantia 88 37

Phasis 96 18

Phidiacus Iuppiter 173 1 5

Philetaeus 209 3

Philetas 146 1

Phoebe 55 15

Phoenix 140 3

pignus228 12; 242 73

pila 153 7

plla 231 20

Pindar 112 27; 138 10; 219

62; 2263; 233 29
pins 160 9

Plautus 128 20; 159 3
plenns 101 44
Pluperf. 71 36; 82 1; 97 23;

137 3; 184 15
Plural indef. 86 23; 116 15;

167 63; 188 s j 203 3 8; 203

40
Plur. of magnificence 176 31 ;

218 55
Poenns 143 3

pompa 129 3

Ponticus 73

positus 65 7

posse 80 31 32

potus and positus 221 75

praeoonia classica 157 41

praelucere 55 13

praeteritus 136 36

Praxiteles 174 16*

premere 183 9

Pres. for preterite 114 2

prooedere 52 1

properare 59 4

prouehi 66 16

proximus 92 6

pudor 80 33
puella 101 45 ; 138 15
puluis (fern.) 107 6
Pulydamas 150 29
pumex 148 8

qualis 106 1
quamuis 113 29
quantus 60 10; 220 65
que displaced 58 30
quirt 68 22

Quintilian 50 25 ; 54 11
quippe ubi 79 27
Quirinus 212 2 1

racemus 199 13 14

radius 213 26

ramus 48 13

rarus 72 42

recens 209 7

referre 51 38

remanere 50 31

repugnare with dat. Ill 2c

resipiscere 193 1 7

rogitare 68 23

Bomanus 107 5

ros 137 2

rumor 62 26

rumpere 69 27

Salhut 61 19
sanguis 117 19
sanum 193 18
sapere 134 26
saucius 82 5
saxum 87 29
Scaeae (portae) 178 39
Scamander 150 27
scamnum 155 19
scire 54 12
Scribonia 239 55
secures ponere 175 24
sedllO 15; 118 1
seducere 79 27
semper 94 14 ; 178 38
Seneca 53 5 ; 163 31

INDEX TO THE NOTES.

271

Seneca Trag. 155 24; 175 25 ;

214 27; 2289; 241 77
sentire 245 93
sepositus 97 24
sepulcrum 226 1
sequi 140 5
seruitium 61 19
seuehi 155 2 1
Sicanus 87 29
signum 198 2
sinus 72 38
Sila93y
Silius Italicus 48 13 ; 94 14 ;

150 29; 170 50; 213 25;

235 39
sirpiculus 203 40
socius (adj.) 63 29
sonitus 102 48
spatiari 93 9
spatium 206 58
sperare 109 3
spiritus 80 32; 87 32; 183

10
Statins 94 1 r ; 147 5 ; 159 3 ;

170 5; 17628; 177 37; 213

23; 215 36; 231 31; 233 26
sub 99 36; 177 36; 179 52
subductus 199 9
subesse 218 52
subire 141 10
Subjunctive 246 101
Subj. imperf. 114 7
succendere 55 15
Sugambri 222 77
surgere 99 37
Syrius 131 14

taeda 67 21
talis 66 15; 139 20
tarn 88 39
tamen47 8; 109 5
tangere 154 16
Tantaleus 232 24
tantuB 228 12
tardare 100 42
tardus 48 17; 7241

tela 179 54

temptare 127 19

tempus 65 9; 218 53

Tenses 164 45 ; change of, 135

33
tenuis 148 8

tepidus 85 22

terebinthus 165 49

tergus 137 6

terra 134 26

terrae (plur.) 108 10

thalamus 165 49

Thebanus deus 183 6

Theocritus 46 3 ; 90 sqq.; 147 5

Thessalia 60 6

Thessalus 192 10

Thiodamanteus, 92 6

thyius 165 49

Thynias 99 34

Tibullus 196 13 ; 198 8 ; 241 70

pseudo-Tibullus 73 45 ; 116 1 7 ;

119 5 ; 214 32

tonsus 235 38

toga praetexta 234 33

toruus 185 24

totiens 62 21; 77 21

toxicum 60 6

tradere 83 10

trahere 56 19

tristis somnus 85 22

Triton 219 61

tuba 115 12

Tullus 106

turba 155 24

turgere 104 3

tumultus 119 7

tutus 103 52

uacuus 51 34; 79 27; 91 2

uagus 60 7 ; 93 10

Valerius Flaccus 97 23; 100

41; 101 47; 13436

uapulare 128 10
uariare 110 1 1
ubioumque 93 10
uellicare 109 8

<

272

INDEX TO TEE NOTES.

uendere 53 4
uenire 54 10
uentosus 125 5
uerba queri 68 22
uerbum and dictum 57 29
Yergiliae 65 10
uersioolor 165 50
uertere86a8; 164 43
Vertumnua 196
ueBanus 65 5
uestis (stola) 240 61
uetustas 149 23
uices 242 75
uidere, 48 12
uindicare in 231 20
uirl36 3 6; 155 20
Virgil 54 10; 56 21; 104
105 7; 120 16 17; 123 4;

43; 22383; 246 101
uita 52 1

uitta (uirginea) 234 34
Vlixes 164 41
umbrosus rogus 227 8
umor 153 2
unde 116 13
unguis tener 100 39
unus 60 12
Voo. 67 19
uocula 86 27
Volsinius (adj.) 198 4
uota 89 44
urna 231 19
utere 67 19
una 199 13

125 5; I5634; 165 49; 204 Zeugma 175 24

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24 MATHEMATICS

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26 MATHEMATICS

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MATHEMATICS 27

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28 MATHEMATICS

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80 MATHEMATICS

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PHYSICS 31

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