WHEN ENOUGH IS ENOUGH: AN UNNOTICED TELESTICH IN HORACE (SATIRES 1.4.14–18)

Abstract

In these lines from the fourth poem of his first collection of satires (1.4.9–18), Horace defines his poetic identity against the figures of his satiric predecessor Lucilius and his contemporary Stoic rival Crispinus. Horace emerges as the poet of Callimachean restraint and well-crafted writing in contrast to the chatty, unpolished prolixity of both Lucilius and Crispinus. A proponent of the highly wrought miniature over the sprawling scale of Lucilius, Horace knows when enough is enough. And, owing to a playful link between what is satis (‘enough’) and satura (‘satire’), this makes Horace not only a skilful poet but also the consummate satirist. I suggest that this programmatic message is both emphasized and illustrated by a piece of wordplay beginning in line 14. In a previously unnoticed telestich, the last letters of lines 14–18 spell out the word satis (‘enough’). Moreover, this hidden word—made possible only by the particular arrangement of words in all five of its lines—anticipates and deepens the poem's later interest in the matter of compositio, or artful word-arrangement. While this may be unique as an example of a Horatian telestich, Horace does engage in various forms of wordplay elsewhere, and could look not only to Hellenistic poets but also to Lucretius as a predecessor in this regard. In the Satires, a collection in which problems of libertas make forms of implication and veiled speech especially significant, a wide range of hidden words and wordplay has been detected and suggested. The instance observed here reaffirms Horace's interest in wordplay, while its uniqueness as a telestich is, as I hope to show, particularly suited to its context in this poem.

Acrostics and Telestichs in Augustan Poetry: Ovid's Edgy and Subversive Sideswipes

“…16See Fredericksen (2018), who argues that the SATIS telestich confirms Horace's self-styled ʻmodern’ form of satire as ʻmore satis than satur ’ (compared with Lucilius), and as a thematic telestich or generic signature (as in the case of Aratus’ LEPTE ), in lines which specifically criticise quantity ( uter plus scribere possit , 16), noting ecce , the last word of the line immediately preceding the telestich, as a signum (perhaps, I would add, even signalling end-on telestichs ME SATIS ). Horace has an acrostic OTIA in his final poem on satire, Sat.…”