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ablative of instrument rather than of separation. Now it is undoubtedly the latter if our interpretation of inligatum be correct. Granting, then, that it is a question of loosing from the spell of Thessalian potions, we are not restricted in deus to one of the drug-using healing divinities. On the contrary, we may draw virtually on the entire pantheon, for the magician, being no respecter of gods save so far as his own immediate ends are served, is likely to call summarily on any god, of high or low degree, to cast or to dissolve a spell.' In the light of this explanation the four lines appear in style and structure as more worthy of the artist Horace. If deus points to a major divinity only, then the strength of the climax "saga . . . . magus deus" is nullified by the sudden fall to the level of Pegasus, who is, according to Horace' own conception, not a thoroughbred deus but only a hybrid offshoot;2 in short, the ladder would be broken at the topmost round. But with our interpretation the climax would produce the illusion of being heightened by the introduction of the name of Pegasus, for this would follow deus on the same level, as a "for instance" illustration.3 From the point of view of fact the climax remains as it is, but from the point of view of effect, which is the chief concern here, the climax is most imposingly extended.May we not now offer the following rendering of the stanza in question: "What witch, what sorcerer, what divinity can free thee from Thessalian potions? Even Pegasus will be greatly tasked to free thee, bewitched (with potions) as thou art, from the three-bodied Chimaera " ?

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