, 11), Novius (_Sat._ i. 3, 21). In _Sat._ i. 4
and ii. 1 he defines the moral and social aim of his satire. In _Sat._
i. 4, 1-13 he criticizes Lucilius' style; this seems to have given
offence, and in _Sat._ i. 10 he gives reasons for his former criticism.
Horace's Epicureanism is more pronounced in Book i. than in Book ii. In
_Sat._ i. 1 and i. 3 (cf. ll. 99-124) the influence of Lucretius is
seen. In i. 3 he takes up an antagonistic position to Stoicism (cf. ll.
124-142). In ii. 3 he shows less hostility to Stoicism though he still
criticizes it.[58] In _Sat._ ii. 7, where the slave Davus enunciates the
Stoic doctrine, +hoti monos ho sophos eleutheros+, Davus' arguments from
l. 75 onwards have been taken by Horace from Cic. _Parad._ 5.

Horace does not pretend that his Satires (or Epistles) are poetry, and
makes several statements to that effect. _Sat._ ii. 6, 17,

'Quid prius inlustrem satiris musaque pedestri?'

_Ep._ ii. 1, 250,

'Sermones ... repentes per humum.'

So _Sat._ i. 4, 39-44.

The _Epodes_ are called _Epodi_ in the MSS. +Epodos+ was the
name given to a piece composed of couplets, the first line of which is
longer than the second. Horace calls them _iambi_ (_Epod._ 14, 7;
_Od._ i. 16, 3). Their style is an imitation of that of Archilochus of
Paros. _Ep._ i. 19, 23-5,

'Parios ego primus iambos
ostendi Latio, numeros animosque secutus
Archilochi, non res et agentia verba Lycamben.'

This is seen in the personal attacks made in many of them, as well as
in the +aischrologia+ employed, and also in the versification.
The dates of several can be fixed. _Epod._ 16 was written B.C. 41, and
refers to the Perusian war. Horace takes no part with either side, but
advises his countrymen to leave Rome, like the Phocaeans of old.
_Epod._ 7 was written B.C. 39; and _Epod._ 1, 9, and 14, about B.C.
31. The order is strictly metrical. Epodes 1-10 are simple iambics
(trimeter and dimeter alternately); 11-16 more complicated forms; 17,
the last, in iambic trimeters.

The _Odes_ Horace himself calls _carmina_. The metres are nearly all
taken from Sappho and Alcaeus, the two poets whose works Horace wished
to present to his countrymen in a Roman dress. Cf. _Od._ iii. 30,
13-4,

'Princeps Aeolium carmen ad Italos
deduxisse modos.'

The metrical differences between himself and his originals are due to
the difference in the genius of the two languages and to the fact that
he adopted the