John Conington's preface to his translation of Horace's Satires and Epistles candidly acknowledges the difficulty of the task, noting that while the Odes have attracted many translators, the Satires and Epistles have been largely neglected since a shift in literary taste around 1800. He cites Gifford's Juvenal as a successful precedent but admits that Horace's lighter, more conversational style poses unique challenges. The excerpts that follow reveal a poet who addresses his readers directly, using everyday scenarios—a crooked haircut, a child's game, a change of travel plans—to illustrate moral inconsistency. Horace's voice is wry and self-deprecating, as when he compares himself to a fox wary of the lion's den, or admits his own mind 'makes a chaos of an ordered life.'

The Translator's Candid Preface

Conington opens by distinguishing his work from his earlier translation of Horace's Odes, stressing that success in one genre does not guarantee aptitude for the other. He observes that the Satires and Epistles have been rarely attempted in recent decades, with Byron's Hints from Horace and a few experiments by Theodore Martin being among the few exceptions. The preface is notable for its scholarly humility: Conington does not claim to have solved the problem of rendering Horace's informal hexameters, but he provides a clear rationale for his approach. He praises Gifford's Juvenal as 'the very best version of a classic in the language,' yet acknowledges that Horace's lighter passages—'level and almost flat'—are harder to translate effectively. This self-awareness sets the tone for the volume, inviting readers to consider the translator's choices as they encounter the poems.

A Self-Mocking Moralist

In the first satire excerpt, Horace adopts a conversational stance, addressing a patron who smiles at his uneven haircut or askew gown but ignores his mental inconsistencies. The poet lists his own fickle behavior—'Builds castles up, then pulls them to the ground'—and asks why such chaos is treated as an everyday affair while a physical flaw draws notice. This passage exemplifies Horace's method: he uses trivial, concrete details to expose larger moral failings. The satire builds to a hyperbolic claim that 'the sage is half divine, / Rich, free, great, handsome, king of kings,' undercut by the deflating final phrase 'save when his nose runs down.' The humor lies in the gap between philosophical ideal and bodily reality, a recurring motif in Horace's work.

The Fox and the Lion: A Lesson in Consistency

Horace employs a fable to answer those who demand he conform to public opinion: he compares himself to the fox who, invited to the ailing lion's den, notices that all tracks lead in but none lead out. The image is both witty and pointed, suggesting that following the crowd leads to a trap. This excerpt also showcases Horace's skill at shifting registers—from the fable's simplicity to the rapid-fire catalog of Roman obsessions: tax farming, usury, baiting widows with cakes, and stocking private lakes. The poet then asks whether any person can maintain a single hobby for a whole day, illustrating the point with the example of Croesus, who rushes to Baiae only to pack for Teanum the next night. The passage builds to a question: 'How shall I hold this Proteus in my gripe?'—a direct challenge to the reader to recognize their own changeability.

Homer as Moral Teacher

The second epistle, addressed to Lollius, opens with a contrast: while Lollius trains his tongue at Rome, Horace reads Homer at Praeneste. The poet asserts that Homer 'shows / What's good, what's bad, what helps, what hurts' better than the philosopher Crantor. This claim positions the epic poet as a practical moral guide, not merely a storyteller. The excerpt is brief but significant, as it signals Horace's method of drawing ethical lessons from familiar texts. Readers encountering this passage early in the volume will recognize a pattern: Horace consistently grounds his advice in concrete examples—whether from Homer, children's games, or everyday Roman life—rather than abstract precepts. The epistle form allows him to address a specific friend while speaking to a wider audience, a technique that gives the poems an intimate yet universal quality.

As you read these translations, pay attention to how Conington handles Horace's shifts in tone—from the blunt satire of the first book to the more reflective epistles. The preface's warnings about the difficulty of rendering Horace's 'level and almost flat' passages are worth keeping in mind; some of the most effective moments are the quiet, understated ones. Notice also how Horace uses his own inconsistencies as a starting point for self-examination, inviting readers to join him in the search for a consistent character.