Ode 2.1

Pollio’s histories of civil war

by Horace

Horace opens his second book of odes with an address to Gaius Asinius Pollio, a political and military heavyweight who held the consulship in 40 BCE and celebrated a triumph in 39 BCE for a successful campaign against a people called the Parthini as Proconsul of Macedonia. He is believed to have held no further military or civil office, but remained a major public figure. He was a patron of Virgil, who praises him in the Eclogues, had a high reputation as a tragic playwright in the Greek tradition, and was a pioneer in organising public recitations of his writings. When this ode was written, he was taking up a work on the history of the civil wars as a continuation of the Histories of the historian Sallust, who had died with them incomplete in 35 BCE. (Neither work survives, bar some fragments of Sallust.) The wars are a subject on which Horace was passionate: his work often expresses a horror for them too vivid not to be sincere, a feeling no doubt shared by many war-weary Romans of the time.

The reference to Africa relates to the battle of Thapsus, a civil-war victory of Julius Caesar in 46 BCE. The closing sentiment of the poem – that the subject under discussion is too exalted for Horace’s lyric pen to cope with – is one that recurs several times in the odes. Often, as here, it is disingenuous, as Horace has just precisely demonstrated that epic themes are well within his range. Simonides of Ceos wrote the epitaph for the 300 Spartans who died fighting the Persians at Thermopylae in 480 BCE: “Stranger, go tell the Spartans that we lie here obedient to their word.”

Metre: Alcaic.

See the illustrated blog post here.

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Motum ex Metello consule civicum
bellique causas et vitia et modos
ludumque Fortunae gravisque
principum amicitias et arma

nondum expiatis uncta cruoribus,
periculosae plenum opus aleae,
tractas et incedis per ignis
suppositos cineri doloso.

paulum severae musa tragoediae
desit theatris: mox ubi publicas
res ordinaris, grande munus
Cecropio repetes cothurno,

insigne maestis praesidium reis
et consulenti, Pollio, curiae,
cui laurus aeternos honores
Delmatico peperit triumpho.

iam nunc minaci murmure cornuum
perstringis auris, iam litui strepunt,
iam fulgor armorum fugacis
terret equos equitumque voltus.

audire magnos iam videor duces,
non indecoro pulvere sordidos
et cuncta terrarum subacta
praeter atrocem animum Catonis.

Iuno et deorum quisquis amicior
Afris inulta cesserat inpotens
tellure victorum nepotes
rettulit inferias Iugurthae.

quis non Latino sanguine pinguior
campus sepulcris inpia proelia
testatur auditumque Medis
Hesperiae sonitum ruinae?

qui gurges aut quae flumina lugubris
ignara belli? quod mare Dauniae
non decoloravere caedes?
quae caret ora cruore nostro?

sed ne relictis, Musa procax, iocis
Ceae retractes munera neniae,
mecum Dionaeo sub antro
quaere modos leviore plectro.

The civil upheaval from the year of Metellus’s consulship, the causes and vices of war  and how it unfolded, the play of Fortune, the alliance of the foremost Romans – so perilous for the city; war fought with weapons primed with still-unexpiated blood, and deeds which were fraught with chance and danger: these are your subject, and in adopting it you are walking through fires which still lie beneath the deceptive ash. Let your tragic Muse forsake the theatres for a short time only: in due course, when you have set the affairs of the state in order, you will resume your great work, achieved through the dramatic art of Attica, and once again be the foremost protector of anxious litigants in the court, and of the Senate, Pollio, as it solicits your advice, you for whom the laurel bore undying honours with your Triumph over the Dalmatians. Already, you grate on our ears with the menacing call of battle-horns, already trumpets are braying, already the flash of arms plants terror in horses as they fly and in the faces of their riders. Already I seem to hear the speeches of the generals, stained with the dust that brings them honour, and all the affairs of the world brought to subjection, save only the spirit of intransigent Cato. Juno, and other friendly Gods to Africa, who had been forced to leave the field with it unavenged, delivered the descendants of the victors back to Jugurtha as a sacrifice to his shade. What field of ours, made more fertile with Italian blood, does not bear witness with the tombs that it bears to the sacrilege of war, and the crash, audible even to the distant Persians, of the ruin of our western land? What streams, what rivers, have not learned from experience the misery of war? What sea has the gore of our countrymen not stained? What shore does not have Roman blood on it? But wait, my forward Muse, do not leave your playful songs to take up a task which belongs with Simonides and his dirges: come, and in Venus’s grotto seek out melodies with me on a gentler instrument.

`

More Poems by Horace

  1. An invocation to the lyre
  2. Awe for the Gods
  3. Ligurinus’s unwelcome change
  4. Horace the swan
  5. Love lost and found
  6. Love a slave-girl? Oh, Xanthias!
  7. Soracte
  8. Gyges’s constancy
  9. Lovely mother, lovelier daughter
  10. Leave the cares of state, Maecenas
  11. Horace’s wine
  12. Numida’s back
  13. A change of mind
  14. Rome: disaster and salvation
  15. Mourning for a good man
  16. Horace’s Cleopatra ode
  17. Glycera
  18. A garland from the Muses
  19. The fleeting years slip by
  20. Horace’s prayer to a wine-jar
  21. Horace’s Chloe
  22. Europa’s lament
  23. Diffugere nives
  24. Courage and decadence: the Regulus ode
  25. Unrequited love
  26. Horace welcomes his army comrade
  27. A plea for burial
  28. Carpe diem, Sestius
  29. Horace’s reverence to Bacchus
  30. Horace the peacemaker
  31. Horace’s monument
  32. A call for a moral renaissance
  33. Luxury versus the simple life
  34. An invitation to Maecenas
  35. Here’s to Murena!
  36. Locked out
  37. Diana and Apollo: a hymn
  38. Housman and Horace
  39. Don’t trust Barine
  40. The pleasures and dangers of wine
  41. The Golden Mean
  42. Neobule
  43. Horace’s first Ode
  44. Pyrrha
  45. Tibur or Tarentum: a poet’s dilemma?
  46. Romulus in Heaven
  47. Last love
  48. A prayer to Mercury
  49. A tactful compliment
  50. New temples, new morals
  51. A divine inspiration
  52. Romulus becomes a God
  53. Lalage is too young
  54. An oath to Maecenas
  55. Lydia’s tragedy
  56. Nereus prophesies the Trojan War
  57. Horace invites – Virgil?
  58. Lyce grows old
  59. Wealth should be used, not hoarded
  60. Pindar and Augustus
  61. Postumus, the years slip by
  62. Be your age, Chloris!
  63. A country sacrifice
  64. Curse you, tree!
  65. Horace, the wolf and the upright life
  66. Celebrating Neptune’s feast day
  67. The victories of Drusus and Tiberius
  68. A day off for rain
  69. Late stirrings
  70. Don’t worry, be happy
  71. A Prayer to the poetry-God
  72. Licymnia
  73. Augustus at the pinnacle
  74. A prayer to Faunus
  75. Poscimur
  76. Horace’s limitations
  77. Some advice for Dellius
  78. Augustus returns
  79. Horace, accepted bard of Rome
  80. The tug-of-war for Nearchus
  81. The consolations of wine
  82. O Fons Bandusiae
  83. Stormy seas
  84. Caesar’s safe return
  85. A dedication to Diana
  86. Poetry, the giver of immortality
  87. The country is best
  88. Gathering rosebuds: carpe diem
  89. A Farewell to arms
  90. Horace returns to lyric poetry
  91. Relief from care
  92. The lust for money versus the simple life
  93. Horace rests from his labours
  94. Iccius goes soldiering
  95. Jupiter’s authority, and Caesar’s
  96. Jealousy
  97. Augustus, master of the world
  98. A prayer to Venus
  99. Valgius and Mystes
  100. Roman values for the new age
  101. Fortuna
  102. What Roman youth should be
  103. Horace’s fame and Apollo’s gift
  104. The final ode
  105. Give me comfort, not riches
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