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The Annotated Edition

DIALOGUE BETWEEN HORACE AND CANIDIA. by Horace

Summary, meaning, line-by-line analysis & FAQ.

A man ensnared by a witch's curse pleads with Canidia to set him free, promising her anything she desires — cattle, admiration, or even a poem that immortalizes her.

Poet
Horace
The PoemFull text

DIALOGUE BETWEEN HORACE AND CANIDIA.

Horace

Now, now I yield to powerful science; and suppliant beseech thee by the dominions of Proserpine, and by the inflexible divinity of Diana, and by the books of incantations able to call down the stars displaced from the firmament; O Canidia, at length desist from thine imprecations, and quickly turn, turn back thy magical machine. Telephus moved [with compassion] the grandson of Nereus, against whom he arrogantly had put his troops of Mysians in battle-array, and against whom he had darted his sharp javelins. The Trojan matrons embalmed the body of the man-slaying Hector, which had been condemned to birds of prey, and dogs, after king [Priam], having left the walls of the city, prostrated himself, alas! at the feet of the obstinate Achilles. The mariners of the indefatigable Ulysses, put off their limbs, bristled with the hard skins [of swine], at the will of Circe: then their reason and voice were restored, and their former comeliness to their countenances. I have suffered punishment enough, and more than enough, on thy account, O thou so dearly beloved by the sailors and factors. My vigor is gone away, and my ruddy complexion has left me; my bones are covered with a ghastly skin; my hair with your preparations is grown hoary. No ease respites me from my sufferings: night presses upon day, and day upon night: nor is it in my power to relieve my lungs, which are strained with gasping. Wherefore, wretch that I am, I am compelled to credit (what was denied, by me) that the charms of the Samnites discompose the breast, and the head splits in sunder at the Marsian incantations. What wouldst thou have more? O sea! O earth! I burn in such a degree as neither Hercules did, besmeared with the black gore of Nessus, nor the fervid flame burning In the Sicilian Aetna. Yet you, a laboratory of Colchian poisons, remain on fire, till I [reduced to] a dry ember, shall be wafted away by the injurious winds. What event, or what penalty awaits me? Speak out: I will with honor pay the demanded mulct; ready to make an expiation, whether you should require a hundred steers, or chose to be celebrated on a lying lyre. You, a woman of modesty, you, a woman of probity, shall traverse the stars, as a golden constellation. Castor and the brother of the great Castor, offended at the infamy brought on [their sister] Helen, yet overcome by entreaty, restored to the poet his eyes that were taken away from him. And do you (for it is in your power) extricate me from this frenzy; O you, that are neither defiled by family meanness, nor skillful to disperse the ashes of poor people, after they have been nine days interred. You have an hospitable breast, and unpolluted hands; and Pactumeius is your son, and thee the midwife has tended; and, whenever you bring forth, you spring up with unabated vigor.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A man ensnared by a witch's curse pleads with Canidia to set him free, promising her anything she desires — cattle, admiration, or even a poem that immortalizes her. He references well-known myths of mercy, like Achilles showing compassion to Priam and Circe returning Ulysses' crew to normal, to make the case that even the toughest hearts can eventually yield. The poem unfolds as a dramatic monologue filled with desperation, blending flattery with deep anguish.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Now, now I yield to powerful science; and suppliant beseech thee by the dominions of Proserpine...

    Editor's note

    The speaker begins by fully surrendering. He calls upon Proserpine, the queen of the underworld, Diana, the goddess associated with witchcraft, and the incantation books — the very tools of Canidia — to serve as his witnesses. By appealing to her powers and pleading with her to halt their actions, he cleverly uses the language of her world to communicate with her.

  2. Telephus moved [with compassion] the grandson of Nereus...

    Editor's note

    The speaker presents three mythological examples of mercy: Achilles, the grandson of the sea-nymph Thetis (also known as 'grandson of Nereus'), spared Telephus; Priam retrieved Hector's body from Achilles; Circe turned Ulysses' men back from pigs. Each tale conveys a similar message — even the mightiest and most ruthless eventually show compassion. The speaker aims to persuade Canidia to do the same.

  3. I have suffered punishment enough, and more than enough, on thy account...

    Editor's note

    Here, the speaker details his physical decline: diminished strength, pale skin, visible bones, hair bleached white by her potions, lungs gasping for air, and sleepless nights. The list is raw and nearly clinical, meant to make Canidia recognize the extent of the harm she has inflicted and evoke some reaction—pity, satisfaction, or anything that could persuade her to stop.

  4. Wherefore, wretch that I am, I am compelled to credit (what was denied, by me) that the charms of the Samnites discompose the breast...

    Editor's note

    The speaker acknowledges that he once doubted the existence of magic. Now, through his suffering, he has changed his mind. This represents a minor humiliation within a larger one: he is not only physically broken but has also had to let go of his rational beliefs. The Samnites and Marsians were ancient Italian peoples known for their expertise in spells and folk magic.

  5. What wouldst thou have more? O sea! O earth! I burn in such a degree as neither Hercules did...

    Editor's note

    The speaker likens his suffering to two well-known mythological torments: Hercules succumbing to the poisoned shirt drenched in the blood of the centaur Nessus, and the raging fires of Mount Etna. While claiming his pain surpasses both is an exaggeration, it emphasizes the severity of his condition. He then refers to Canidia as a 'laboratory of Colchian poisons' — Colchis being the land of Medea, the classic sorceress.

  6. What event, or what penalty awaits me? Speak out: I will with honor pay the demanded mulct...

    Editor's note

    The speaker moves from complaining to negotiating. He proposes giving a hundred cattle (a significant Roman offering) or, more importantly, to sing her praises on his lyre — which means he’ll compose poetry to celebrate her. For a poet, this is the most valuable gift. He then lavishly flatters her, promising she will be remembered as a golden constellation, like the Dioscuri (Castor and Pollux).

  7. Castor and the brother of the great Castor, offended at the infamy brought on [their sister] Helen...

    Editor's note

    The Castor and Pollux story mentioned here relates to the legend of the poet Stesichorus, who lost his sight for speaking poorly of Helen. He regained his vision after he took back his words in a 'palinode' (a poem of retraction). The speaker suggests that even divine twins, who were truly wronged, eventually forgave a poet. This implies that Canidia, lacking any divine status, ought to follow their example.

  8. And do you (for it is in your power) extricate me from this frenzy; O you, that are neither defiled by family meanness...

    Editor's note

    The poem ends with a wave of ironic flattery. The speaker hails Canidia as nobly born, clean-handed, and a good mother — traits she likely lacks, considering her reputation in Horace's Epodes as a low-born, grave-robbing witch. The compliments are so exaggerated that they come off as desperate sarcasm, or as a man ready to say anything to gain his freedom.

§04Tone & mood

How this poem feels

The tone is desperate and theatrical all the way through, but it shifts constantly. It starts with a genuine-sounding plea, transitions into a lawyer-like argument with mythological examples, then moves into raw physical complaint, followed by bargaining, and wraps up with flattery that's so over-the-top it feels sarcastic. Horace keeps the reader on edge—you can never quite tell how much of the speaker's humility is sincere and how much is an act. This ambiguity drives the poem.

§05Symbols & metaphors

Symbols & metaphors

The burning sensation
The speaker claims he suffers more than Hercules did in the shirt of Nessus or the flames of Etna. Here, fire represents the relentless, uncontrollable nature of the curse — a self-destructive force that he cannot evade or manage, regardless of how logical or defiant he attempts to be.
The golden constellation
The speaker vows to make Canidia a golden star in the sky. In ancient times, constellations represented the highest form of posthumous honor, typically reserved for heroes and gods. Bestowing this honor upon a witch is a ridiculous compliment, highlighting the total shift in power: the poet, whose art usually grants immortality, now finds himself pleading to use that gift as a bargaining tool.
The lyre
The lyre is the poet's true weapon and his only form of currency. He proposes to play it in Canidia's honor — exchanging his art for his freedom. In this poem brimming with magical power, the lyre stands as the sole counter-magic the speaker has.
Circe's transformation of Ulysses' men
The sailors who were transformed into pigs and later returned to their human form represent the idea that magical harm can be reversed. The speaker intentionally references this myth: if Circe was able to reverse her actions, then Canidia can do the same. This symbol positions the curse not as an unchangeable destiny but as a decision that Canidia is consciously choosing to maintain.
Hoary hair and ghastly skin
The speaker's physical decay — with whitened hair and bones visible beneath the skin — clearly shows the curse's progression. In Roman culture, a man's appearance was closely linked to his social status and vitality. His deteriorating body represents not only suffering but also public humiliation.
The unpolluted hands
When the speaker compliments Canidia's 'unpolluted hands,' he's referencing a Roman standard of ritual purity. The irony cuts deep: Canidia's hands are notoriously linked to grave robbery and poison crafting. Describing them as clean is either an act of desperate flattery or a stark reminder of the person she has the potential to become.

§06Historical context

Historical context

Horace (65–8 BCE) wrote a collection of poems known as the Epodes, where a witch named Canidia frequently appears as a symbol of dangerous, low-born magical power. Most readers view her as a fictional character rather than a historical figure, although some ancient scholars attempted to identify her. This particular dialogue stands out in the Epodes because it gives the speaker a sustained, almost sympathetic voice—he isn't just mocking Canidia from a distance but is completely under her spell. The poem is rooted in a Roman tradition of defixiones, or curse tablets, and captures the genuine fears surrounding magic during the late Republic and early Empire. Horace incorporates mythological examples (Telephus, Priam, Circe) in line with typical Roman rhetorical techniques: you strengthen your argument by citing precedents. It’s likely that this poem was written in the 30s BCE, amidst the political turmoil that followed Julius Caesar's assassination.

§07FAQ

Questions readers ask

Canidia is a witch featured in various works of Horace, including his Epodes and Satires. While she is likely a fictional character, some ancient commentators suggested she was inspired by a perfume seller named Gratidia from Naples. Horace portrays her as a symbol of dangerous, transgressive female power—representing a force that defies Roman social norms.

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