Part 4

[19] Epig. 1.25, _Opera Omnia_, 2 v., Leyden, 1725, II, 365. Nicole's text presents several variants and cuts the next to the last couplet, which I translate: "Already at the tomb, He beats the gates / Of Dis, and Libertina waits his torches."

[20] Epig. 3.5, _op. cit._, p. 233.

[21] Catullus 36 and Martial 1.109. 10-11

[22] _Pis._ 13

[23] _Aen._ 1.630

[24] _Anthologia Latina_, ed. Alexander Riese, 412.17, Leipzig, 1894, I, 1, p.319. The epigram, from which this phrase is quoted, was ascribed to Seneca by Pithoeus.

[25] Epig.... ad ... Neville, 2.126, _op. cit._, p. 38. Harvey, p. 36, translates: "Lo, not an hair thine heads bald Crown doth crown: / Thy Faithless Front hath not one hair thine own: / Before, Behind thine hair's blown off with Blast, / What's left thee to be lost? thine Head at last."

[26] In the preface, _Delectus_, Paris, 1659, ch. 2. The problem was whether to print a large collection of epigrams, rejecting merely the obscene ones, or to choose only the best. A middle way was taken for these reasons: 1) there are so few first-class epigrams that a reader who had his own opinions might think the selection too choosy; 2) the best shines out only in comparison with what is not so good, and examples of vice are as useful as examples of virtue, since judgement in large measure consists in knowing what to avoid; 3) finally and principally, the curiosity of young men would not be sufficiently satisfied by the selection if they knew that a good many witty and polished epigrams were to be found elsewhere. Since it was especially necessary to keep youth from the unspeakable filth of Catullus and Martial, who are at the same time the best writers, everything of theirs is included except the cheapest odds and ends and filthiest obscenities. For the writers after Martial stricter standards were applied, for the book would have grown beyond bounds if everything tolerable had been admitted.

[27] Martial 5.37, 1, 4-6, 9, 12-14. The lines that Nicole cuts contain only more of the same.

[28] Martial 1.76

[29] Epig. libri tres ad Henricum ... ded. 1.67, _op. cit._, p. 131.

[30] Unidentified. The text reads: "In nive nocte vagans nuceo cado stipite nectus, / Sic mihi nix, nox, nux, nex fuit ante diem."

[31] 1.8. 5-6.

[32] The conclusion of an epigram of ten lines, ascribed to Seneca in _Delectus_, pp. 326-7. Lines 1-8 correspond to _Anth. Lat._, _op. cit._, 407. 5-12. The younger Scaliger had begun a new epigram with line 5, as also with lines 9 and 11 (ed., Vergil, _Appendix, cum supplemento_ ..., Lyons, 1572, pp. 196-7.) The concluding sententia, however, which Nicole quotes here and praises later in the notes to the anthology, is from the conclusion of the next epigram, _Anth. Lat._, 408. 7-8, which is a response to the preceding one. But the first two-thirds of the couplet has been rewritten with the aid of something like a _Gradus ad Parnassum_. The ms reads, "nunc et reges tantum fuge! vivere doctus / uni vive tibi nam moriare tibi." Nicole reads, "Mitte superba pati fastidia, spemque caducam / Despice: vive tibi, nam moriere tibi." _superba pati fastidia_ corresponds to Vergil, _Ecl._ 2.15; _spem ... caducam_ to Ovid, _Epist._ 15 (sive 16, "Paris Helenae"). 169 (sive 171).

The epigram as it stands in the anthology, then, is a result of Scaliger's disintegration of _Anth. Lat._ 407, which suggested beginning with line 5 and adding 408. 7-8 from the responsory poem. But this couplet is subjected to improvement to adjust it to the sense, to sustain the level of feeling, and to enhance the sententious point. Thus, with the aid of phrases from Vergil and Ovid, using _mitte_ and _despice_ as fillers and helpers, the epigram is concluded "with a noble, exalted and true thought," as the editor says in the notes.

[33] _Inst. orat._ 11.1.16.

[34] J. C. Scaliger, _Poeticas libri vii_, 3.125, 5th. ed., 1607, p. 389.

[35] _loc. cit._, p. 390: "An epigram, therefore, is a short poem directly pointing out some thing, person, or deed, or deducing something from premises. This definition includes also the principle of division--so let no one condemn it as prolix." Nicole, however, uses only the first half of the definition, since he rejects the principle of division.

[36] _loc. cit._: "Brevity is a property; point the soul and, so to speak, the form." For a full account of the Renaissance theory of the epigram and the contemporary controversies, see Hutton, _op. cit._, pp. 55-73, and _The Greek Anthology in France and in the Latin writers of the Netherlands to the year 1800_, "Cornell studies in classical philology," XXVIII (1946), _passim_.

[37] Anon., "In statuam equestrem Ludouici XIII positam Parisiis in circo regali," _Delectus_, pp. 409-10.

[38] Nicolas Borbon, the younger, _Poematia exposita_, Paris, 1630, pp. 144-5, the concluding lines (lines 23-30) of an epigram, "In versus v.c. Iacobi Pinonis."

[39] Catullus 1.7

[40] Ianus Vitalis Panomitanus (c.1485-1560), "Antiquae Romae ruinae illustres," _Delectus_, p. 366; see also _Delitiae delitiarum_, ed. Ab. Wright, Oxford, 1637, p. 104, with textual variants.

[41] 1.21

[42] _Delectus_, pp. 396-7, 399-400, and 405. See Grotius, _op. cit._, pp. 341-2, and 383.

[43] 1.8

[44] 1.33

[45] 2.68

[46] 4.69

[47] 4.56

[48] 6.65

[49] 2.5

[50] 3.44. 1-5, 9-18. The lines cut, 6-8, read in translation: "No tigress wild for her lost cubs, / No viper burned by the noon sun, / No scorpion begets such fear." In line 11, line 8 of the translation, Nicole reads _canenti_ for the received _cacanti_. The latter reading will yield in translation a rhyme with the preceding line.

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John Dryden, _His Majesties Declaration Defended_ (1681) Daniel Defoe (?), _Vindication of the Press_ (1718) _Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela_ (1754)

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First Year (1946-1947)

1. Richard Blackmore's _Essay upon Wit_ (1716), and Addison's _Freeholder_ No. 45 (1716). (I, 1)

2. Samuel Cobb's _Of Poetry and Discourse on Criticism_ (1707). (II, 1)

3. _Letter to A. H. Esq.; concerning the Stage_ (1698), and Richard Willis's _Occasional Paper No. IX_ (1698). (III, 1)

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Second Year (1947-1948)

7. John Gay's _The Present State of Wit_ (1711); and a section on Wit from _The English Theophrastus_ (1702). (I, 3)

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Third Year (1948-1949)

13. Sir John Falstaff (pseud.), _The Theatre_ (1720). (IV, 1)

14 Edward Moore's _The Gamester_ (1753). (V, 1)

15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_ (1712); and Arthur Mainwaring's _The British Academy_ (1712). (VI, 1)

16. Nevil Payne's _Fatal Jealousy_ (1673). (V, 2)

17. Nicholas Rowe's _Some Account of the Life of Mr. William Shakespear_ (1709). (Extra Series, 1)

18. Aaron Hill's Preface to _The Creation_; and Thomas Brereton's Preface to _Esther_. (IV, 2)

* * * * *

Transcriber's Notes:

On p. 23, a letter was missing in one of the words; it was changed as follows:

From: "when they are orn down and laughed at." To: "when they are torn down and laughed at."

On p. 35, footnote #24, removed the repeated word "is":

From: "from which this phrase is is quoted" To: "from which this phrase is quoted"