Ars Poetica

Translated by Leon Golden in Horace for Students of Literature: The 'Ars Poetica' and Its Tradition, (1995). 1-33 If a painter were willing to join a horse's neck to a human hea an sprea on multicolore feathers, with ifferent parts of the !o " !rought in from an"where an e#er"where, so that what starts out a!o#e as a !eautiful woman en s up horri!l" as a !lack fish, coul "ou m" frien s, if "ou ha !een a mitte to the spectacle, hol !ack "our laughter$ %elie#e me, ear &isos, that #er" similar to such a painting woul !e a literar" work in which meaningless images are fashione , like the reams of someone who is mentall" ill, so that neither the foot nor the hea can !e attri!ute to a single form. '&ainters an poets,' someone o!jects, 'ha#e alwa"s ha an e(ual right to are to o whate#er the" wante .' )e know it an we !oth seek this in ulgence an grant it in turn. %ut not to the egree that the sa#age mate with the gentle, nor that snakes !e paire with !ir s, nor lam!s with tigers. 1*-+3 ,ften, one or two purple patches are stitche onto works that ha#e !egun in high seriousness, an that profess important themes, so that the" sparkle far an wi eas when the gro#e an altar of .iana an the circling of swiftl" flowing waters through the pleasant fiel s or the /hine ri#er or the rain!ow are escri!e . %ut this was not the place for such em!ellishments. 0n perhaps "ou know how to raw a c"press tree. )hat oes that matter if "ou ha#e !een pai to paint a esperate sailor swimming awa" from a shipwreck$ 1ou starte out to make a wine-jar. )h", as the wheel turns, oes it en up as a pitcher$ In short, let the work !e an"thing "ou like, !ut let it at least !e one, single thing. +*-31 2ost of us poets, o father an sons who are worth" of that father, ecei#e oursel#es !" an illusion of correct proce ure. I work at achie#ing !re#it"- instea I !ecome o!scure. 3tri#ing for smoothness, #igor an spirit escape me. ,ne poet, promising the su!lime, eli#ers pomposit". 0nother creeps along the groun , o#erl" cautious an too much frightene of the gale. )hoe#er wishes to #ar" a single su!ject in some strange an won erful wa", paints a olphin into a forest

an a !oar onto the high seas. 4he a#oi ance of !lame lea s to error if there is an a!sence of art. 3+-35 6ear the gla iatorial school of 0emilius, a most incompetent craftsman will mol toenails an imitate soft hair in !ron7e !ut he is unsuccessful with his complete work !ecause he oes not know how to represent a whole figure. If I wishe to compose something, I woul no more wish to !e him than to li#e with a crooke nose although highl" regar e for m" !lack e"es an !lack hair. 38-*5 &ick a su!ject, writers, e(ual to "our strength an take some time to consi er what "our shoul ers shoul refuse an what the" can !ear. 6either elo(uence nor clear organi7ation will forsake one who has chosen a su!ject within his capa!ilities. 9nless I am mistaken this will !e the special e:cellence an elight of goo organi7ation;that the author of the promise poem, enamore of one su!ject an scornful of another, sa"s now what ought to !e sai now an !oth postpones an omits a great eal for the present. *<-59 0lso in linking wor s "ou will speak with e:ceptional su!tlet" an care if a skillful connection ren ers a well-known term with a new twist. If, !" chance, it is necessar" to e:plain o!scure matters !" means of new images it will turn out that "ou must e#ise wor s ne#er hear !" the kilte =ethegi, an license for this will !e gi#en if claime with mo est". )or s that are new an recentl" coine will !e recei#e in goo faith if the" are sparingl" i#erte from a >reek source. )h" then will the /oman grant to =aecilius an &lautus what is enie to ?irgil an ?arius$ If I am capa!le of oing it, wh" am I gru ge the ac(uisition of some few wor s when the tongue of =ato an @nnius enriche our ancestral language an re#eale new names for things$ It has alwa"s !een permitte , an it alwa"s will !e permitte to !ring to light a name stampe with the mark of the present a". <A-5+ Bust as forests change their lea#es "ear !" "ear an the first rop to the groun , so the ol generation of wor s perishes, an new ones, like the rising ti e of the "oung, flourish an grow strong. )e, an e#er"thing that is ours, are estine to ie- whether 6eptune, hospita!l" recei#e on lan , keeps our fleets safe from the north win s, a task worth" of a king, or a marsh, !arren for a long time, an

suita!le for oars, nourishes near!" cities an feels the hea#" plough, or a ri#er has change its course that was hostile to crops an has isco#ere a !etter route to follow, all things mortal will perish- much less will the glor" an grace of language remain ali#e. 2an" terms will !e !orn again that !" now ha#e sunk into o!li#ion, an man" that are now hel in respect will ie out if that is what use shoul ictate in whose power is the ju gment an the law an the rule of speech. 53-88 Comer has emonstrate in what meter we shoul escri!e the ee s of kings an lea ers as well as gloom" wars. Dament, first, was enclose in une(uall" paire #erses an later also our grateful thoughts for answere pra"er. 3cholars isagree a!out who originall" pu!lishe these !rief elegiac #erses, an it still is !efore the court as a matter of ispute. Eur" arme 0rchilochus with his own iam!usF !oth the comic sock an the gran tragic !oot took possession of this foot, suite as it was for alternating ialogue an a!le to con(uer the raucous shouts of the au ience as well as naturall" suite to action. 4he muse grante the l"re the task of reporting a!out the go s, the chil ren of the go s, the #ictorious !o:er, an the horse who was first in the race, as well as to recor "outhful anguish an wine's li!erating influence. )h" am I greete as a poet if I ha#e neither the a!ilit" nor the knowle ge to preser#e the #ariations an sha es of the literar" works that I ha#e escri!e $ )h", per#ersel" mo est, o I prefer to !e ignorant than to learn$ 89-98 4he su!ject matter of come " oes not wish to fin e:pression in tragic #erses. In the same wa" the feast of 4h"estes is in ignant at !eing represente through informal #erses that are #er" nearl" worth" of the comic sock. Det each genre keep to the appropriate place allotte to it. 3ometimes, howe#er, e#en come " raises its #oice an an angere =hremes eclaims furiousl" in swollen utterances- an often the tragic figures of 4elephus an &eleus grie#e in pe estrian language when, as a pauper or e:ile, each of them, if he shoul care to touch the heart of the spectator with his complaint, a!an ons !om!ast an a ses(uipe alian #oca!ular". 99;113 It is not enough for poems to !e '!eautiful'- the" must also "iel elight an gui e the listener's spirit where#er the" wish. 0s human faces laugh with those who are laughing, so the" weep with those who are weeping. If "ou wish me to cr", "ou must first feel grief "ourself, then "our misfortunes, , 4elephus or &eleus, will injure me. If "ou speak ineptl" assigne wor s, I shall either sleep or laugh. 3a wor s are fitting for the gloom" face, wor s full of threats for the angr" one, pla"ful wor s for the amuse face, serious wor s for the stern one. Eor 6ature first

forms us within so as to respon to e#er" kin of fortune. 3he elights us or impels us to anger or knocks us to the groun an torments us with oppressi#e grief. 0fterwar she e:presses the emotions of the spirit with language as their interpreter. If, howe#er, there is iscor !etween the wor s spoken an the fortune of the speaker, /omans, whether ca#alr" or infantr", will raise their #oices in a raucous !ell" laugh. 11*;118 It will make a great ifference whether a go is speaking or a hero, a mature ol man or someone passionate an still in the full flower of "outh, a powerful matron or a iligent nurse, an itinerant merchant or the culti#ator of a prosperous fiel , a =olchian or an 0ss"rian, one raise in 4he!es or in 0rgos. 119 - 15+ @ither follow tra ition or e#ise harmonious actions. , writer, if "ou !" chance escri!e once again honore 0chilles, let him !e weariless, (uick to anger, stu!!orn, #iolent- let him en" that laws were ma e for him, let him claim e#er"thing !" arms. Det 2e ea !e wil an uncon(uera!le, Ino oleful, I:ion treacherous, Io a wan erer in min an !o ", ,restes fille with sorrow. If "ou commit an"thing unteste to the stage an "ou are to fashion a no#el character, let it !e maintaine to the en just as it emerge at the !eginning an let it !e consistent with itself. It is ifficult to speak uni(uel" of common themes- an "et "ou will more properl" spin the song of 4ro" into acts than if "ou are the first to !ring to light what has not !een known or recor e in literature. 2aterial in the pu!lic omain will come un er pri#ate juris iction if "ou o not loiter aroun the !roa , common poetic c"cle, an o not stri#e, as a literal translator, to ren er te:ts wor for wor , an if "ou will not, as an imitator, leap own into a narrow space from where shame or the rules appl"ing to the work for!i "ou to e:tricate "our foot- nor shoul "ou !egin "our work as the c"clic poet once i F ',f &riam's fate an renowne war I shall sing.' )hat might someone who makes this ple ge !ring forth that will !e worth" of his !ig mouth$ 2ountains will go into la!or, !ut an a!sur mouse will !e !orn. Cow much more skillful is the one who oes not toil foolishl"F '4ell me, , 2use, of the man, who, after the capture of 4ro", #iewe the customs an cities of man" ifferent peoples.' Ce oes not aim to e:tract smoke from the flaming light !ut rather light from the smoke, so that he might then escri!e spectacular mar#els;0ntiphates an the 3c"lla an =har"! is along with the ="clops. 6or oes he !egin the return of .iome es from the eath of 2eleager nor the 4rojan )ar from the twin eggs. Ce alwa"s mo#es swiftl" to the issue at han an rushes his listener into the mi le of the action just as if it were alrea " known, an he a!an ons those su!jects he oes not think can glitter after he has

treate them. 4hus oes he in#ent, thus oes he mingle the false with the true that the mi le is not inconsistent with the !eginning, nor the en with the mi le. 153 - 158 Disten to what I an the general pu!lic along with me esire, if in ee "ou wish applau ing listeners to wait for the final curtain an to remain seate until the singer sa"s '>i#e us a han now'- "ou must note the characteristics of each stage of life an "ou must grant what is appropriate to changing natures an ages. 0 chil who just now has learne to repeat wor s an to stamp the groun with a firm footstep takes great pleasure in pla"ing with other chil ren an hee lessl" concei#es an a!an ons anger as well as changes moo s hour !" hour. 4he !ear less "outh, with his guar ian finall" remo#e , rejoices in horses an ogs an in the grass of the sunn" =ampus- supple as wa: to !e fashione into #ice, he is ru e to those who gi#e him a #ice, slow at pro#i ing for what is useful, e:tra#agant with mone", fille with loft" i eas an passionate, !ut also swift to a!an on the o!jects of his affection. )hen one has reache manhoo in age an spirit, the o!jects of his enthusiasm are altere , an he seeks wealth an connections, !ecomes a sla#e to the trappings of honor, is hesitant to ha#e set into motion what he will soon struggle to change. 2an" trou!les assail an ol man, whether !ecause he seeks gain, an then wretche l" a!stains from what he possesses an is afrai to use it, or !ecause he atten s to all his affairs fee!l" an timi l"- a procrastinator, he is apathetic in his hopes an e:pectations, sluggish an fearful of the future, o!stinate, alwa"s complaining- he e#otes himself to praising times past, when he was a !o", an to !eing the castigator an moral censor of the "oung. 4he "ears, as the" approach, !ring man" a #antages with them- as the" rece e, the" take man" awa". 4o ensure that, !" chance, roles appropriate for ol men are not assigne to the "oung an those esigne for mature men are not gi#en to chil ren, "ou shall alwa"s spen time on the traits that !elong an are suita!le to the age of a character. 159 - 188 @ither a scene is acte out on the stage or someone reports the e#ents that ha#e occurre . 0ctions that ha#e !een a mitte to our consciousness through our ha#ing hear them ha#e less of an impact on our min s than those that ha#e !een !rought to our attention !" our trust" #ision an for which the spectator himself is an e"ewitness. 1ou will not, howe#er, pro uce onstage actions that ought to !e one offstage- an "ou will remo#e man" inci ents from our e"es so that someone who was present might report those inci ents- 2e ea shoul not slaughter her chil ren in the presence of the people, nor a!omina!le 0treus cook human organs pu!licl",

nor &rocne !e turne into a !ir , =a mus into a snake. )hate#er "ou show me like this, I etest an refuse to !elie#e. 189-+A1 0 pla" shoul not !e shorter or longer than fi#e acts if, once it has !een seen, it wishes to remain in eman an !e !rought !ack for return engagements. 6or shoul an" go inter#ene unless a knot show up that is worth" of such a li!eratornor shoul a fourth actor stri#e to speak. Det the chorus sustain the role of an actor an the function of a man, an let it not sing an"thing !etween the acts that oes not purposefull" an aptl" ser#e an unite with the action. It shoul fa#or the goo an pro#i e frien l" counsel- it shoul control the wrathful an show its appro#al of those who fear to sin- it shoul praise mo est meals, wholesome justice an laws, an peace with its open gates- it shoul conceal secrets an entreat an !eg the go s that fortune return to the owntro en an epart from the arrogant. +A+-+19 4he ou!le pipe not, as now, !oun with !rass an a ri#al of the trumpet, !ut thin an simple, with few holes, was sufficient to assist an support the chorus an to fill still uncrow e !enches with its !reath- where, in ee , the populace, eas" to count since it was small in num!er, honest, pious, an mo est came together. 0fter a con(uering nation !egan to e:ten its lan s an a more e:tensi#e wall !egan to em!race the cit", we starte to appease our guar ian spirit freel" with a"light rinking on holi a"s, an then greater license arri#e on the scene for rh"thms an tunes. Eor what le#el of taste might an une ucate au ience ha#e, free of toil an compose of a mi:ture of rustic an ur!an elements, of low life an aristocrats$ 4hus the flute pla"er a e !o il" mo#ement an e:cessi#e e:tra#agance to the #enera!le art of past times an traile a ro!e !ehin him as he wan ere aroun the stage. 3o also the tonal range of the austere l"re increase , an a reckless fluenc" !rought with it a strange elo(uence whose thought, wise in matters of practical wis om an prophetic of the future, was not out of tune with that of oracular .elphi. ++A-+5A 4he poet who conten e in tragic song for the sake of an insignificant goat soon also strippe wil 3at"rs of their clothes an in a rough manner, with his ignit" unharme , attempte jokes !ecause it was onl" !" enticements an pleasing no#elt" that the spectator, ha#ing performe the sacre rites an ha#ing !ecome runk an reckless, was going to remain in the au ience. %ut it is appropriate to

ren er the 3at"rs agreea!le in their laughter an mocker" an to e:change the serious for the comic so that no go , no hero is !rought on who, ha#ing just !een seen in regal gol an purple, then mo#es into the hum!le ho#el of low class iction- or, while a#oi ing the lowl" earth, reaches for empt" clou s. 4rage ", in ignant at spouting fri#olous #erses, like the matron who is aske to ance on a holi a", appears with some shame, among the impu ent 3at"rs. I shall not, , &isos, were I a writer of 3at"ric rama, !e fon onl" of una orne an commonl" use nouns an #er!s- nor shall I stri#e so much to iffer from the tone of trage " that it makes no ifference if .a#us is speaking with au acious &"thias who, ha#ing swin le 3imo, now has gaine for herself a talent's worth of sil#er, or the speaker is 3ilenus, guar ian an ser#ant of his i#ine foster chil . I shall aim at fashioning a poem from (uite familiar elements so that an"one might anticipate oing as well, might sweat profusel" at it, an "et la!or in #ain after ha#ing #enture to o what I ha#e oneF so great is the power of arrangement an linkage, so great is the grace that is a e to wor s that are a apte from or inar" language. )hen Eauns of the forest are !rought ontage, in m" ju gment, the" shoul a#oi !eha#ing as if the" ha !een !orn at the crossroa s an were almost eni7ens of the forum or act e#er as a olescents with their all-too-wanton #erses or rattle off their irt" an isgraceful jokes. 4hat sort of thing gi#es offense to an au ience of knights, respecta!le hea s of househol s, an men with su!stantial fortunes, nor o the" accept with a patient spirit, or !estow a crown on, whate#er the consumer of roaste chick-peas an nuts appro#es. +51-+<+ 0 long s"lla!le a jacent to a short one is calle an Iam!us, a '(uick' foot- for that reason Iam!us comman e that the name trimeter !e attache to the lines !earing his name although he eli#ers si: !eats a line an from first to last is the spitting image of himself. 6ot so long ago, in or er that the trimeter reach the ears with somewhat greater ignit" an eli!eration, Iam!us a mitte the statel" spon ee into his ancestral rights, o!ligingl" an tolerantl", !ut not so socia!l" as to with raw from the secon an fourth foot of the line. 4his Iam!us appears rarel" in the 'no!le' trimeters of 0ccius an , as for the #erses of @nnius, hurle onto the stage in their pon erous sluggishness, he pursues them with the shameful charge of e:cessi#el" hast" an slipsho workmanship or of sheer ignorance of the poet's craft. +<3 -+5* It is not just an" critic who will notice rh"thmicall" flawe lines, an in ulgence, far more than is merite , has !een grante to our /oman poets. %ecause of that shoul I ram!le aroun an write without an" iscipline at all$ ,r shoul I

consi er that e#er"one is going to see m" faults an , waril" pla"ing it safe, remain within the hope of par on$ I ha#e then, in short, a#oi e !lame, !ut I ha#e not earne praise. 1our man ate is to hol >reek mo els !efore "ou !" a" an to hol them !efore "ou !" night. %ut ("ou sa") "our ancestors praise the meters an wit of &lautus- well (I repl"), the" a mire !oth with e:cessi#e tolerance, not to sa" stupi it"--if "ou an I just know how to istinguish a tasteless e:pression from an elegant one, an we ha#e the skill to recogni7e the proper soun with our ears an fingers. +55 -+8* )e are tol that 4hespis isco#ere the tragic muse's genre, which was unknown until then, an haule his #erse ramas aroun in wagons- these ramas, actors, their faces thoroughl" smeare with wine-lees, sang an performe . 0fter him 0esch"lus, the in#entor of the mask an the elegant ro!e, lai own a stage on mo estl" si7e !eams an taught the art of gran ilo(uent speech an of trea ing the !oar s in the high !oot of the tragic actor. ,l come " followe in the footsteps of these tragic poets an not without much praise- !ut the license it assume for itself escen e into #ice, an its force was justifia!l" tame !" lawthe law was recei#e with appro#al, an the chorus in isgrace !ecame silent since its right to cause harm was a!olishe . +85-+9* ,ur own poets ha#e left nothing untrie nor ha#e the" earne the least glor" when the" ha#e are to a!an on the tracks of the >reeks an to cele!rate omestic situations either !" pro ucing serious /oman ramas or nati#e /oman come ies. 6or woul Datium !e more powerful in courage an in illustrious arms than in literature if the time-consuming effort re(uire for a trul" polishe re#ision of the te:t i not gi#e offense to e#er" single one of our poets. , "ou, who are escen ants of &ompilius, enounce an" poem that man" a a" an man" a correction has not carefull" prune an then impro#e ten times o#er to meet the test of the well-trimme nail. +95-3A8 %ecause .emocritus !elie#es that nati#e talent is a more !lesse thing than poor, misera!le craftsmanship an e:clu es from Celicon, the home of the muses, rational poets, (uite a num!er o not trou!le to cut their nails or sha#e their !ear sthe" seek out lonel" spots- the" a#oi the !aths. ,ne will o!tain the rewar an the name of a poet if he ne#er entrusts his hea , incura!le e#en !" three times 0ntic"ra's output of helle!ore, to the !ar!er, Dicinus. , what an unluck" fool I amG I ha#e m" !ile purge just !efore spring arri#esG 6o one else coul write a !etter

poem. %ut nothing is worth that effortG Instea , I shall ser#e in place of a whetstone that has the power to ren er iron sharp !ut itself lacks the a!ilit" to cutwhile not writing an"thing m"self, I will teach what nurtures an forms the poet, from what source his power springs, what his function an ut" are, what is proper an what is not an in what irection poetic e:cellence lea s an in what irection failure !eckons. 3A9-3++ 4he foun ation an source of literar" e:cellence is wis om. 4he works written a!out 3ocrates are a!le to re#eal the true su!ject matter of poetr" an , once the su!ject matter has !een pro#i e , wor s will freel" follow. Ce who has learne what he owes to his countr", what he owes to his frien s, !" what kin of lo#e a parent, a !rother, or a guest shoul !e honore , what is the ut" of a senator, what is the function of a ju ge, what is the role of a general sent into war--he, assure l", knows how to represent what is appropriate for each character. I !i the artist, traine in representation, to reflect on e:emplars of life an character an to !ring us li#ing #oices from that source. 3ometimes a tale that lacks st"listic elegance, gran eur, an skill !ut is a orne with impressi#e passages an characters who are accuratel" rawn is a greater source of pleasure an !etter hol s the interest of an au ience than #erses that lack a #ision of realit" an are mere trifles to charm the ear. 3+3-33+ 4o the >reeks, co#etous of nothing e:cept glor", the 2use grante inspire talent, to the >reeks she ga#e elo(uence in full measure. /oman "ouths, on the other han , learn !" means of length" calculations how to i#i e a sum of mone" into a hun re parts. '1ou, there, 0l!inus's son, sol#e the following pro!lemF If onetwelfth is su!tracte from fi#e twelfths, how much is left$ =ome on, "ou shoul ha#e gi#en me the answer !" nowG' 'It's one-thir G' ')ell one, m" !o", "ou'll surel" !e a!le to protect "our in#estments.' '6ow suppose that one-twelfth is a e to fi#e-twelfths, what oes that make$' 'I'#e got itHone-halfG' )hen once this corruption an a#i concern for material wealth has staine the human spirit, can we reall" hope that poems will !e written worth anointing an protecting with oil of ce ar, an preser#ing in chests of polishe c"press$ 333-3*< &oets wish to either !enefit or elight us, or, at one an the same time, to speak wor s that are !oth pleasing an useful for our li#es. )hate#er lessons "ou teach, let them !e !rief, so that recepti#e spirits will (uickl" percei#e an faithfull" retain what "ou ha#e sai . @#er"thing superfluous seeps out of the well-stocke min . In

or er to create pleasure, poetic fictions shoul appro:imate realit" so that a pla" shoul not claim, on its own !ehalf, that an"thing it wishes must !e !elie#e nor shoul it e:tract a li#ing chil from the stomach of the ogress, Damia, after she has ine . 4he centuries of el ers ri#e awa" whate#er is without serious #alue- the high an might" /amnes keep their istance from gloom" poems. Ce gets e#er" #ote who com!ines the useful with the pleasant, an who, at the same time he pleases the rea er, also instructs him. 4hat !ook will earn mone" for the 3osii, this one will cross the sea an e:ten immeasura!l" the life of a famous writer. 3*5-3<A 4here are, howe#er, mistakes that we are willing to forgi#e. Eor the string oes not alwa"s return the soun that the han an min esire, an although "ou seek a low note, it #er" often sen s !ack a high one. 6or will the !ow alwa"s strike whate#er it threatens. %ut where man" (ualities sparkle in a poem, I will not fin fault with a few !lemishes, which either carelessness intro uce or human nature, too little #igilant, i not a#oi . )hat then$ Bust as the scri!e who copies !ooks, if he alwa"s makes the same mistake no matter how much he is warne , has no claim on our in ulgence, an a l"re-pla"er is mocke who alwa"s strikes the same false note, so the poet who is fre(uentl" foun wanting turns into another =hoerilus who, ami st m" scorn for his work, astonishes me the two or three times he is reall" goo - I am also offen e when great Comer falls asleep on us, !ut it is permitte for some rowsiness to creep into a long work. 3<1-3<5 &oetr" resem!les painting. 3ome works will capti#ate "ou when "ou stan #er" close to them an others if "ou are at a greater istance. 4his one prefers a arker #antage point, that one wants to !e seen in the light since it feels no terror !efore the penetrating ju gment of the critic. 4his pleases onl" once, that will gi#e pleasure e#en if we go !ack to it ten times o#er. 3<<-358 0n "ou, the ol er !rother, although "ou ha#e !een mol e !" "our father's #oice to know what is correct an "ou are wise in "our own right, take an hol in "our memor" this warningF onl" in certain acti#ities are we justifie in tolerating me iocrit" an what is just passa!le. 0 run-of-the mill e:pert in the law or plea er of cases is a long wa" from the skill of the elo(uent 2essala an oesn't know as much as 0ulus =ascellius, !ut ne#ertheless he has a #alue. %ut neither men nor go s nor !ooksellers ha#e e#er put their stamp of appro#al on me iocre poets. Bust as at a gracious meal a

iscor ant musical performance or a thick perfume or 3ar inian hone" on "our popp" see s gi#e offense !ecause the meal coul ha#e !een put together without them- in the same wa" a poem that comes into e:istence an is create for the gratification of our min an heart, if it misses true e:cellence !" onl" a little, #erges towar eepest failure. 359-38* 4he person who oes not know how to pla" forgoes the athletic e(uipment in the =ampus 2artius, an someone who oes not know an"thing a!out the !all, the iscus, or the hoop sta"s awa" from the action in or er to pre#ent the packe crow of spectators from raising their #oices in unrestraine laughterF %ut the person who has no i ea how to create poetr" still has the au acit" to tr". )h" not$ Ce is a free citi7en, an was !orn that wa", an especiall" !ecause he is !oth rich (his propert" assessment places him in the e(uestrian class) an he has ne#er !een con#icte of a crime. 385-39A 6e#er will "ou sa" or o an"thing if 2iner#a, the go ess of wis om, for!i s it"ou ha#e goo ju gment, "ou ha#e goo sense. %ut if "ou shall, one a", write something let it first penetrate the ears of a critic like 2aecius or "our father or m"self- an then keep a li on it until the ninth "ear comes aroun !" storing "our pages insi e "our house. 1ou will alwa"s !e a!le to estro" an"thing "ou ha#en't pu!lishe - a wor , once release , oes not know how to return. 391 -*A5 )hen men still roame the forests, ,rpheus, the priest an prophet of the go s, eterre them from slaughter an from an a!omina!le wa" of life. ,n account of this he is sai to ha#e tame sa#age tigers an lions. 0mphion, the foun er of the cit" of 4he!es, also is sai to ha#e mo#e stones where#er he wishe !" the soun of his l"re an his se ucti#e entreaties. ,nce it was eeme wis om to keep what was pu!lic separate from what was pri#ate, what was sacre from what was not, to issue prohi!itions against promiscuit", to set own laws for those who are marrie , to !uil towns, to inscri!e laws on woo en ta!lets. In this wa" honor an renown came to poets, inspire !" the go s, an their songs. 0fter these, Comer achie#e fame an 4"rtaeus, with his poems, sharpene men's min s for the wars of 2arsoracles were gi#en in poetr", an the wa" of life was emonstrate , an the grace of kings was teste !" &ierian songs- an entertainment was isco#ere , that entertainment which !rought to a close perio s of e:ten e la!or. I sa" this so that "ou will not in an" wa" feel shame for the skille muse of the l"re an the i#ine singer of songs, 0pollo.

*A8 - *18 Is it nature or art, the (uestion is put, that makes a poem praiseworth"F I o not see what stu ", without a rich #ein of natural a!ilit", or raw talent alone, woul !e a!le to accomplish. @ach asks for assistance from the other an swears a mutual oath of frien ship. Ce who is eager to reach the esire goal at the race-course has en ure much an accomplishe much as a !o". Ce has sweate an he has fro7en- he has a!staine from se: an wine. 4he flute-pla"er who pla"s the &"thian piece first learne his skill un er a master he feare . 6ow it is enough to sa"F 'I fashion won erful poems- ma" the mang" itch take the hin most- it's a isgrace for me to !e left !ehin an to a mit that what I i not learn, I simpl" o not know.' *19 - *35 Bust like the heral at an auction who collects a crow in or er to sell his merchan ise, the poet who is rich in lan s, rich in mone" lent out for interest, !i s flatterers with an e"e on profit to assem!le. If in fact he is someone who can properl" ser#e up a la#ish !an(uet an go !ail for a fickle, po#ert"-stricken client an can e:tricate someone from istressing lawsuits, I will !e surprise if the !lesse fellow can tell a liar from a true frien . 1ou, then, if "ou ha#e gi#en, or plan to gi#e, a gift to someone, must refuse to in#ite him, full of jo"ful gratitu e, to a rea ing of poems "ou ha#e written. Eor he will shout, '%eautifulG' '>reatG' '/ight onG' Ce will turn pale o#er them, he will e#en let ew rip from his frien l" e"es, he will ance an poun the pa#ement with his foot. Bust as hire mourners at a funeral almost sa" an o more than those who grie#e from the heart, so a mocking critic will more easil" !e arouse than a true a mirer. Iings are sai to pl" with man" a cup an test with wine the person the" stri#e to e:amine with regar to his worthiness of their frien ship. If "ou plan to write poetr", the thoughts conceale within the fo: shoul ne#er ecei#e "ou. *38-*5+ If "ou e#er rea something to Juintilius, he use to sa", '&lease correct this point an that.' If "ou sai that "ou coul not impro#e them after two or three #ain attempts, he woul a #ise "ou to !lot them out an to return the !a l" forme #erses to the an#il. If "ou chose to efen "our error rather than change it, he woul e:pen not a wor more nor waste an" useless effort to stop "ou, alone, from lo#ing "our work an "ourself without a ri#al. 0n honest an ju icious man will !e critical of ull #erses an isappro#ing of harsh ones- ne:t to those completel" lacking in art he will smear a !lack line with a hori7ontal stroke of the pen- he will e:cise pretentious ecoration- he will compel "ou to she light on what lacks clarit"- he will e:pose the o!scure phrase- he will note what must !e change an will turn out to !e a #erita!le 0ristarchus. Ce will not sa", ')h"

shoul I isplease a frien !ecause of tri#ialities$' 4hese 'tri#ialities' will lea that frien into serious trou!le once he has !een greete with unfa#ora!le re#iews an mocking laughter. *53 -*5< 0s when the e#il itch or the isease of kings or the fren7ie ma ness an wrath of .iana oppress someone, so sensi!le people are afrai to touch the ma poet, an run awa" from him. Inconsi erate chil ren pursue an torment him. Ce, his hea in the clou s, !elches out his poems an loses his wa"- if, like a fowler whose attention is ri#ete on the !lack!ir s, he falls into a well or pit, no one will care to raise him up no matter how long he shouts, 'Ce", fellow-citi7ens, look o#er hereG' %ut if an"one takes the trou!le to come to his ai an to lower a rope to him, I will sa", 'how o "ou know that he i n't throw himself own there on purpose an oesn't want to !e sa#e $' 4hen, I'll tell the stor" of how the 3icilian poet perishe . )hen @mpe ocles felt the esire to !e consi ere an immortal go , cool as a cucum!er he leape into the !urning fires of 0etna. Det the right !e gi#en, let permission !e grante for poets to ie. )hoe#er sa#es someone against his will oes e:actl" the same thing as the person who mur ers him. 6ot just once has he one this, an if he is e:tricate now he will not !ecome a mere mortal an put asi e his infatuation with a eath that will make him famous. 6or is it sufficientl" clear wh" he practices the poet's tra e. .i he sacrilegiousl" urinate on the ashes of his ancestors or istur! a gloom" plot of consecrate lan that ha !een struck !" lightning$ )hate#er the cause he is certainl" ma an just like a !ear--if he has succee e in smashing the restraining !ars of his cage--his morose pu!lic recitations frighten off the e ucate an the ignorant alike- once he gets his han s on a person, he oesn't let go until he kills him with his rea ing--a leech who will not release the skin unless gorge with !loo .