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p. 57), who thinks the allusion not meant to be umcomplimentary.
[73] Parios iambos has been ingeniously explained to mean the epode, _i.e._ the iambic followed by a shorter line in the same or a different rhythm, _e.g. pater Lukámba poion ephraso tode; ti sas paraeeire phrenas_; but it seems more natural to give Parios the ordinary sense. Cf. Archilochum proprio rabies armavit iambo, A. P. 79.
[74] Ep. I. xix. 24.
[75] S. i. 118, _Omne vafer vitium ridenti Flaccus amico Tangit, et admissus circum praecordia ludit, Callidus excusso populum suspendere naso_.
[76] Tib. IV. i. 179, _Est tibi qui possit magnis se accingere rebus Valgius: aeterno propior non alter Homero_.
[77] Od. II. ix. 19.
[78] Quint. III. i. 18. Unger, quoted by Teuffel, § 236, conjectures that for Nicandrum frustra secuti Macer atque Virgilius, we should read Valgius, in Quint. X. i. 56.
[79] Sat. I. ix. 61.
[80] _Arguta meretrice potes Davoque Chremeque Eludente senem comis garrire libellas Unus vivorum, Fundani_. After all, this praise is equivocal.
[81] _Pindarici fontis qui non expalluit haustus.... An tragica desaevit et ampullatur in arte?_ Ep. I. iii. 10.
[82] Ep. I. viii. 2.
[83] Ep. I. iii. 15.
[84] Od. IV. ii. 2.
[85] Od. iv. ii. 2, quoted by Teuffel.
[86] Od. I. xxxiii.; Ep. I. iv.
CHAPTER IV.
[1] _E.g._ In the first 100 lines of the Remedium Amoris, a long continuous treatise, there is only one couplet where the syntax is carried continuously through, v. 57, 8, Nec moriens Dido summa vidisset ab arce Dardanias vento vela dedisse rates, and even here the pentameter forms a clause by itself. Contrast the treatment of Catullus (lxvi. 104-115) where the sense, rhythm, and syntax are connected together for twelve lines. The same applies to the opening verses of Virgil's Copa. Tate's little tre
A History of Roman Literature, page 649
by Charles Thomas Cruttwell