^{page 205 note 1} Murry, J. Middleton, Shakespeare (London, 1954 ed.), 290–1 (italics mine).Google Scholar

^{page 205 note 2} Odes iii. 27. 18–20.Google Scholar

^{page 206 note 1} Odes i. 33. 16.Google Scholar

^{page 206 note 2} B.C. iii. 28.4, tirones … salo nauseaque confecti … se Otacilio dediderunt.

^{page 206 note 3} Acts xxvii; cf. 33, τεσσαρεσκαιδεκάτην σήμερον ἡμέραν προσδοκῶντες ἄσιτοι διατελεῖτε, μηδὲν προσλσβόμενοι.

^{page 206 note 4} Odes iii. 4. 25–28.Google Scholar

^{page 206 note 5} He was with Brutus at Klazomenai (Sat. i. 7).

^{page 207 note 1} Plato, , Rep. 328–9.Google Scholar

^{page 207 note 2} Note the violence of the language throughout i. 13 and in i. 25. 13–16.

^{page 207 note 3} Cf. Ep. i. 20. 24Google Scholar, corporis esigui, praecanum …; Odes ii. 11. 15Google Scholar, canos odorati capillos …; iii. 14. 25, lenit albescens animos capillus. (Odes ii. II cannot be precisely dated, but is likely to have been written before Horace was forty years of age; iii. 14 can be dated at 24 B.c.) Note also ii. 20. 10–11, album mutor in alitem | superne, where the image of the swan seems to be suggested by the whitening hair.

^{page 207 note 4} Odes ii. 4. 22–24.Google Scholar

^{page 208 note 1} Odes ii. 11. 5–8.Google Scholar

^{page 208 note 2} See, for example, Satires i. 2, and some of the Epodes.

^{page 208 note 3} The Poetic Image (London, 1947), 88.Google Scholar

^{page 208 note 4} Horace and His Lyric Poetry (Cambridge, 1945), 129 ff.Google Scholar

^{page 208 note 5} Horace, a New Interpretation (London, 1924), 224.Google Scholar

^{page 208 note 6} A ‘symbol’ is an image less fully developed, and influencing more subtly than metaphor and direct imagery the unfolding of the theme.

^{page 208 note 7} Wilkinson compares consociare amant (ii. 3. 10) for such ‘nature symbolism’.