## Horace: Satires

July 21, 2019

Satires
Quintus Horatius Flaccus
Translated from the Latin by A.M. Juster
(U Penn, 2008) [c.35-30 BC]
xii + 144 p.

The Satires, in two books, were Horace’s first published poems, having appeared, respectively, in about 35 BC and then 30 BC, he being then in his early 30s. The Civil War between Octavian and Mark Antony still raged, and the fortunes of the Roman Republic were, as yet, in doubt. Horace came, somehow, into the orbit of Virgil, who introduced him to Maecenas, a great artistic patron (and Octavian’s friend who, as it would eventually turn out, would be in a position to make good things happen for his stable of artists). They therefore show us Horace as he takes his first steps into the public eye, at the start of what would turn out to be a brilliant artistic life.

The title under which the poems were published is liable to mislead English readers. For us “satire” means edgy comedy, perhaps with a political or religious edge, intended to puncture and deflate pretensions with wit, or to exaggerate faults in the manner of caricature. But for Horace the word apparently meant something closer to simple gossip. The poems are intentionally informal, loose, and chatty, and though they are frequently comic and have some bite they do not bite very hard.

He wrote in hexameter, a metre most associated with Greek epic; the effect was not so much to make the poems grand in an epic style, but rather grandiose, the high form making a comedic contrast with the quotidian and sometimes vulgar subject matter.

I have read the poems in the translations of A.M. Juster, who chose to render the poems in rhyming couplets of iambic pentameter. In a sense, this works well, because the metre is for us what hexameter was for Horace: a verse form associated with our high poetry. But I was, at least initially, less convinced by his determination to rhyme. Horace’s poems do not rhyme, and other translators (like David Ferry) have made a pretty convincing case that the poetry in Horace’s poetry, if I can put it that way, is a subtle thing, woven into the rhythms and the diction, art concealed by art. Horace himself makes the argument in these Satires:

Come listen to a bit of my reply:
myself as a real poet. You’d opine
that it is not enough to write a line
in meter, and a person such as me
who writes a chatty sort of poetry
could never be regarded in your eyes
as a real poet. You would recognize
a person who is brilliant, with a mind
that is far more inspired and the kind
of voice that resonates. Based on that thought,
some doubted whether comic verses ought
to count as verse because they can’t convey
great force and energy in what they say
or how they say it. Though arranged in feet
(unlike prose) that incessantly repeat,
it’s still just prose.
(I, 4; ll.58-73)

He intends, it seems, his poems to read something like musical prose, whereas rhyming couplets are about the most obvious kind of poetry there could be, and tend to divide the verse into regular segments rather than mimicking the supple variations of the original.

However, I discovered that Juster is awfully good, and not a little subtle, at penning rhyming couplets. The passage above is a good example, and here is another, plucked more or less at random. A character is describing the food at a lavish, not to say grossly extravagant, dinner party, and says:

“This was caught while pregnant, since the meat
degrades as soon as spawning is complete.
The sauce’s recipe was: oil (first-pressed)
from the Venafran cellar that’s the best;
fermented Spanish fishgut sauce; a wine
that’s five years old and nurtured on a vine
from native shores — but only with some heat
(when warmed up, Chian wine just can’t be beat!);
white pepper, vinegar that comes from spoiling
of Methymnean grapes. I taught the boiling
of green rocket with sharp elecampane
in sauce before those others. In that vein,
Curtillus used unwashed sea-urchin juice
because brine fails to match what shells produce.”
(II, 8; ll.68-82)

This is quite funny, of course; the vices of the gourmand are ever ancient, ever new. But, as to the metre, I think Juster has succeeded, to a large extent, in downplaying the regular rhymes by frequent use of enjambed lines. He does this quite consistently throughout, and has some other tricks up his sleeve too. Take, for example, this case, in which the narrator quotes a fragment of a song:

Why lose your money and deceive yourself
when merchandise is not yet on the shelf?
The playboy sings,
$\;$ $\;$ $\;$ $\;$ $\;$ $\;$“The hunter tracks down hares /
through blinding snow, / but he no longer cares /
once they’re brought low,”
$\;$ $\;$ $\;$ $\;$ $\;$ $\;$ and then analogizes:
“My passion is quite similar; it rises
above the easy prey to chase the birds
in flight.”
(I, 2; ll.145-52)

I love this. The song maintains the regularity of the rhyming couplets, but introduces additional rhymes on the half-lines, making for a kind of syncopated beat — quite suitable for a song! Juster’s own rationale for using rhymed couplets is that they serve the humorous tone of the poems, creating in the reader an expectation that amplifies a joke’s punchline. Maybe so, although the number of outright jokes in the poems is rather small. Nonetheless, I found that the rhyme scheme did not at all interfere with my enjoyment — quite the opposite, in fact, as, all other things being equal, I’d much rather read rhyming poetry than not.

And what of the poems themselves? There are 18 in total, between the two Books, and the subject matter is wide: some moralize in a manner familiar to me from his Epistles, against riches and covetousness, or against lust; more than one orbit around dinner parties and other social events; one, the longest (Book II, 3), seems to be a kind of catalogue of forms of madness; one is written from the point of view of a piece of wood taken from a tree and carved into the likeness of a god; one describes a diplomatic mission from Rome to Brundisium; in one Horace is hounded through town by a man who wants something and will not leave him alone; in another his slave criticizes Horace for being himself a slave to passions. The fable of the city mouse and country mouse is told in one (Book II, 6), but perhaps the most entertaining is the dialogue in the underworld (Book II, 5), a witty spoof on Homer in which Teresias advises Ulysses how to make some money and get ahead.

In certain cases it is obvious that Horace is adopting a persona — all of the poems in Book II are explicitly dialogues, some of which have a character called Horace, some not — but here and there one feels that the real Horace is coming quite close to the surface, as, for example, in this autobiographical passage in which he describes his first meeting with Maecenas, who was to become his life-long patron, with winsome modesty:

$\;$ $\;$ $\;$ $\;$ $\;$ $\;$ I cannot say
that I was fortunate that happenstance
made you my friend because it was not chance
that put you in my path. Some time ago,
supremely gifted Virgil let you know
about me; Varius then did the same.
When we met face-to-face, my childish shame
led me to choke on words and lose my train
of thought before I went on to explain
just who I was, that I was not the son
of a distinguished father, and not one
who used his Saturean nag to ride
around his houses in the countryside.
(I, 6; ll.76-88)

The charm of moments like this are what I have most enjoyed about reading Horace. Reading poetry in translation, I have said before, can be quixotic, as one can never be quite sure how much of the translator’s poetry was in the original, nor how much of the original’s poetry is in the translator’s. Here, in these Satires, I am in the same quandary, but I can at least testify that I enjoyed the poems, and the fine translation, on their own terms.