C. III. 5. 21 arma C. III. 16. 15 militibus sine caede' dixit subruit aemulos reges muneribus; munera navium (f) or, after intervening words, at the beginning of a new clause or of successive clauses (Anaphora); as C. III. 3. 65 ter si resurgat murus aeneus capta virum puerosque ploret (g) The emphasis of Anaphora is usually enhanced by rhythmical position; as C. II. 4. 4 C. II. 8. 13 serva Briseis niveo colore movit Achillem movit Aiacem . . ridet hoc, inquam, Venus ipsa, rident (h) Anaphora, however, is sometimes used without special emphasis, merely serving the purpose of a connective; as Epod. 5. 17 iubet sepulcris caprificos erutas, iubet cupressos funebris... 117. (a) The poet, whose appeal is to the imagination rather than to the intellect, seeks to make a more vivid impression by presenting a picture in preference to an abstract conception, and by putting forward a particular person, object, or action to represent a whole class; as C. I. 1. 9 proprio condidit horreo (for amassing wealth in general); II findere sarculo (i. e. to till). Cf., further, 3 pulverem Olympicum; 10 Libycis areis; 13 trabe Cypria; 14 Myrtoum mare; 15 Icariis fluctibus Africum; C. II. 18. 3 non trabes Hymettiae premunt columnas ultima recisas Africa, neque Attali ignotus heres regiam occupavi, nec Laconicas mihi trahunt honestae purpuras clientae. So the wind is Eurus, Notus, Aquilo; wine is Falernum, Caecubum, Sabinum; the Roman legionary Marsus et Apulus; the outside barbarian Dacus et Aethiops; and so on in endless variety. (b) In the same way a part may produce a more distinct impression than the whole (Synecdoche); as C. I. 1. 13 trabe Cypria (i. e. ship); I. 8. 7 Gallica ora (i. e. horse); C. III. 2. 16 nec parcit (mors) imbellis iuventae poplitibus timidove tergo; Epod. 16. 59 Sidonii (i. e. Phoenicians). Ellipsis. 118. The common substantive of the antecedent and relative clauses is sometimes expressed only in the clause that comes second ; as Epod. 2. 37 malarum quas amor habet curas (in prose, malarum curarum quas amor habet); S. I. 4. 2 alii quorum comoedia prisca virorum est; S. II. 2. 59 vinum et cuius odorem olei nequeas perferre (i. e. et oleum cuius odorem nequeas perferre). 119. (a) A word or phrase belonging to two words, phrases, or clauses in common is sometimes expressed with the second only; as Epod. 7. 13 furorne caecus an rapit vis acrior? C. III. 25. 2 quae nemora aut quos agor in specus. (b) It is a favorite device of Horace to indicate this ellipsis by attaching an enclitic -que or -ve to the word, which then, as nothing precedes to which the conjunction can join it, suggests itself as the word to fill the omission; as C. III. 1. 12 moribus hic meliorque fama (= melior moribus meliorque fama); S. II. 3. 139 non Pyladen ferro violare aususve sororem (= non Pyladen violare ausus aususve sororem); C. I. 30. 6 solutis Gratiae zonis properentque Nymphae (=properent Gratiae properentque Nymphae); (c) So sive (seu) often implies a preceding si or sive; as S. II. 5. 11 turdus sive aliud privum (= si(ve) turdus sive aliud); C. I. 3. 16 quo non arbiter Hadriae maior, tollere seu ponere volt freta (sive tollere seu ponere). (d) But sive (seu) in such a position more frequently follows an absolute statement or injunction or a description, to which it adds an alternative with a condition attached, – to be translated or, if; as C. I. 15. 25 Sthenelus sciens pugnae, sive (= vel, si) opus est imperitare equis, non auriga piger; S. II. 6. 20 Matutine pater, seu Iane libentius audis (= vel Iane, si 'Iane' libentius audis). 120. A group of words which belongs to two or more members of a sentence in common is sometimes distributed among them, each part serving to suggest the rest; as Ep. I. 3. 29 si patriae volumus, si nobis vivere cari; C. III. 21. 2 seu tu querellas sive geris iocos; C. II. 13. 39 nec curat Orion leones aut timidos agitare lyncas: C. I. 27. 11 quo beatus volnere, qua pereat sagitta. 121. Suggestion by similarity. Where two or more qualities belong to a series of objects, the poet is sometimes content to express one with each, leaving the rest to suggestion; as Ep. 1. 16. 50 cautus enim metuit foveam lupus, accipiterque suspectos laqueos, et opertum miluus hamum, where the cautiousness of the animal (cautus) and his distrust (suspectos) of a masked danger (opertum) are to be understood of all three instances; Epod. 5. 37 exsecta uti medulla et aridum iecur (the dry marrow and liver, cut out). 122. Suggestion by contrast. Where a twofold contrast exists between two objects, it may be indicated by attributing to them single qualities which do not match. Each quality expressed will then suggest its opposite in the other object; as C. III. 13. 6 gelidos inficiet tibi rubro sanguine rivos, — where the clear, cold water is contrasted with the warm, red blood; C. II. 3.9 quo pinus ingens albaque populus umbram hospitalem consociare amant, —i. e. the tall, dark pine and the shorter, white poplar. 123. In illustrative comparisons Horace is fond of giving greater vividness to the figure by identifying the subject with it completely (with or without omission of the particle of comparison); as Ep. II. 2. 97 caedimur et totidem plagis consumimus hostem, lento Samnites ad lumina prima duello (i. e. velut Samnites, etc.); Ep.. II. 3. 475 quem vero arripuit [poeta] tenet occiditque legendo, non missura cutem nisi plena cruoris hirudo; C. I. 15. 29 quem tu, cervus uti vallis in altera visum parte lupum graminis immemor, sublimi fugies mollis anhelitu. Attributes. 124. In poetical language a quality of a person or thing is often attributed to some part of it, or to some object which from close association is felt to partake of the quality, or to some action which manifests it; as C. III. 1. 17 destrictus ensis cui super impia cervice pendet; C. I. 3. 40 neque patimur iracunda Iovem ponere fulmina; Epod. 10. 14 impiam Aiacis ratem; C. I. 37. 6 dum Capitolio regina dementis ruinas parabat; C. III. 1. 42 purpurarum sidere clarior usus. In this way a quality is often suggested without being expressly attributed; as C. IV. 4. 57 ut ilex tonsa bipennibus nigrae feraci frondis in Algido, – where the dark foliage is that of the ilex itself. 125. A quality is often attributed to an object which it does not itself possess, but which is reflected upon it, as it were, from the effect it produces in others; as C. I. 5.7 nigris ventis (i. e. those that darken the sky); so I. 7. 15 albus Notus; C. II. 7. 21, oblivioso Massico (that induces forgetfulness); C. II. 10. 15 informis hiemes (marring the face of nature). 126. An attribute may be brought into greater prominence (a) By Hendiadys; as Epod. 5. 54 iram atque numen, all-powerful wrath; (b) By means of an abstract substantive, with the person who possesses the quality and is the logical subject of the sentence appended in the form of a limiting genitive or an adjective (a Homeric device); as S. II. 1. 72 ubi se a volgo et scaena in secreta remorant virtus Scipiadae et mitis sapientia Laeli; C. III. 21. 11 narratur et prisci Catonis saepe mero caluisse virtus; Ep. II. 1. 191 trahitur regum fortuna; C. I. 3. 36 perrupit Acheronta Herculeus labor; (c) By a substantive in apposition; as C. I. 1. I atavis edite regibus (=regiis); C. I. 4. 16 iam te premet nox fabulaeque manes. The appositive may itself have a modifier; as C. I. 3. 20 infamis scopulos Acroceraunia. Enallage. 127. The singular is occasionally used for the plural, either collectively (especially with an adjective of number or quantity) or putting one object to represent its class; as Epod. 2. 31 multa cane; Ep. II. 3. 203 (tibia) foramine pauco ; Epod. 3. 14 (Medea) serpente fugit alite; C. I. 37. 3 ornare pulvinar deorum. 128. The poets use the plural not only of abstracts and of names of things reckoned in bulk (amores, irae, calores, acumina; cruores, vina, Caecuba, and the like), expressing occurrences of a quality, kinds of a substance, etc., as in prose, but even of substantives which designate only a single object or action; as C. I. 2. 15 monumenta regis templaque Vestae (each a single structure); C. III. 27. 75 tua sectus orbis nomina ducet; C. III. 5. 52 populum reditus (sc. of Regulus to Carthage) morantem; Epod. 17. 3 Dianae non movenda numina. 129. The poet often uses an archaic simple verb in place of the more exact compound form in current use; as C. III. 25. 16 manibus vertere fraxinos (for evertere); C. III. 27. 74 mitte singultus (for omitte); C. III. 24. 32 virtutem incolumem odimus, sublatam ex oculis quaerimus invidi (for requirimus). Metonymy. 130. The name of a divinity standing for his special province is particularly common; as Epod. 7. 3 campis atque Neptuno super (i. e. on land and sea); C. III. 24. 13 iugera liberas fruges et Cererem ferunt; C. III. 16. 34 Bacchus in amphora languescit. (See Lucr. II. 652 sqq.) Alliteration and Assonance. 131. Alliteration and assonance hold a very subordinate place in the structure of Horace's poetry, but he employs them to a limited extent. Alliterative sequences that bear the stamp of conscious effort, such as |