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+The Project Gutenberg eBook, Horace and His Influence, by Grant Showerman
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Horace and His Influence
+
+
+Author: Grant Showerman
+
+
+
+Release Date: October 4, 2005  [eBook #16801]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK HORACE AND HIS INFLUENCE***
+
+
+E-text prepared by Marilynda Fraser-Cunliffe, Leonard Johnson, and the
+Project Gutenberg Online Distributed Proofreading Team
+(https://www.pgdp.net/)
+
+
+
+HORACE AND HIS INFLUENCE
+
+by
+
+GRANT SHOWERMAN
+
+
+     *     *     *     *     *     *
+
+
+
+Our Debt to Greece and Rome
+
+Editors
+
+George Depue Hadzsits, Ph.D.
+University of Pennsylvania
+
+David Moore Robinson, Ph.D., Ll.D.
+The Johns Hopkins University
+
+
+[Illustration]
+
+
+
+Contributors to the "Our Debt to
+Greece and Rome Fund," Whose
+Generosity Has Made Possible
+the Library
+
+Our Debt to Greece and Rome
+
+      Philadelphia
+
+  DR. ASTLEY P.C. ASHHURST
+  WILLIAM L. AUSTIN
+  JOHN C. BELL
+  HENRY H. BONNELL
+  JASPER YEATES BRINTON
+  GEORGE BURNHAM, JR.
+  JOHN CADWALADER
+  MISS CLARA COMEGYS
+  MISS MARY E. CONVERSE
+  ARTHUR G. DICKSON
+  WILLIAM M. ELKINS
+  H.H. FURNESS, JR.
+  WILLIAM P. GEST
+  JOHN GRIBBEL
+  SAMUEL F. HOUSTON
+  CHARLES EDWARD INGERSOLL
+  JOHN STORY JENKS
+  ALBA B. JOHNSON
+  MISS NINA LEA
+  HORATIO G. LLOYD
+  GEORGE MCFADDEN
+  MRS. JOHN MARKOE
+  JULES E. MASTBAUM
+  J. VAUGHAN MERRICK
+  EFFINGHAM B. MORRIS
+  WILLIAM R. MURPHY
+  JOHN S. NEWBOLD
+  S. DAVIS PAGE (memorial)
+  OWEN J. ROBERTS
+  JOSEPH G. ROSENGARTEN
+  WILLIAM C. SPROUL
+  JOHN B. STETSON, JR.
+  DR. J. WILLIAM WHITE (memorial)
+  GEORGE D. WIDENER
+  MRS. JAMES D. WINSOR
+  OWEN WISTER
+  The Philadelphia Society for the Promotion of Liberal Studies.
+
+      Boston
+
+  ORIC BATES (memorial)
+  FREDERICK P. FISH
+  WILLIAM AMORY GARDNER
+  JOSEPH CLARK HOPPIN
+
+      Chicago
+
+  HERBERT W. WOLFF
+
+      Cincinnati
+
+  CHARLES PHELPS TAFT
+
+      Cleveland
+
+  SAMUEL MATHER
+
+      Detroit
+
+  JOHN W. ANDERSON
+  DEXTER M. FERRY, JR.
+
+      Doylestown, Pennsylvania
+
+  "A LOVER OF GREECE AND ROME"
+
+      New York
+
+  JOHN JAY CHAPMAN
+  WILLARD V. KING
+  THOMAS W. LAMONT
+  DWIGHT W. MORROW
+  MRS. D.W. MORROW
+  _Senatori Societatis Philosophiae_, [Greek: PhBK], _gratias maximas
+        agimus_
+  ELIHU ROOT
+  MORTIMER L. SCHIFF
+  WILLIAM SLOANE
+  GEORGE W. WICKERSHAM
+  And one contributor, who has asked to have his name withheld:
+  _Maecenas atavis edite regibus,_
+  _O et praesidium et dulce decus meum._
+
+      Washington
+
+  The Greek Embassy at Washington, for the Greek Government.
+
+
+     *     *     *     *     *     *
+
+
+HORACE AND HIS INFLUENCE
+
+by
+
+GRANT SHOWERMAN
+
+Professor of Classics
+The University of Wisconsin
+
+George G. Harrap & Co., Ltd.
+London     Calcutta     Sydney
+
+The Plimpton Press     Norwood     Massachusetts
+
+1922
+
+
+
+
+
+
+To
+HOWARD LESLIE SMITH
+LOVER OF LETTERS
+
+
+
+
+SABINE HILLS
+
+  O_n Sabine hills when melt the snows_,
+  S_till level-full His river flows_;
+  E_ach April now His valley fills_
+  W_ith cyclamen and daffodils_;
+  A_nd summers wither with the rose_.
+
+  S_wift-waning moons the cycle close_:
+  B_irth,--toil,--mirth,--death; life onward goes_
+  T_hrough harvest heat or winter chills_
+        O_n Sabine hills_.
+
+  Y_et One breaks not His long repose_,
+  N_or hither comes when Zephyr blows_;
+  I_n vain the spring's first swallow trills_;
+  N_ever again that Presence thrills_;
+  O_ne charm no circling season knows_
+        O_n Sabine hills_.
+
+                          GEORGE MEASON WHICHER
+
+
+
+
+EDITORS' PREFACE
+
+
+The volume on Horace and His Influence by Doctor Showerman is the second
+to appear in the Series, known as "Our Debt to Greece and Rome."
+
+Doctor Showerman has told the story of this influence in what seems to
+us the most effective manner possible, by revealing the spiritual
+qualities of Horace and the reasons for their appeal to many generations
+of men. These were the crown of the personality and work of the ancient
+poet, and admiration of them has through successive ages always been a
+token of aspiration and of a striving for better things.
+
+The purpose of the volumes in this Series will be to show the influence
+of virtually all of the great forces of the Greek and Roman
+civilizations upon subsequent life and thought and the extent to which
+these are interwoven into the fabric of our own life of to-day. Thereby
+we shall all know more clearly the nature of our inheritance from the
+past and shall comprehend more steadily the currents of our own life,
+their direction and their value. This is, we take it, of considerable
+importance for life as a whole, whether for correct thinking or for true
+idealism.
+
+The supremacy of Horace within the limits that he set for himself is no
+fortuity, and the miracle of his achievement will always remain an
+inspiration for some. But it is not as a distant ideal for a few, but as
+a living and vital force for all, that we should approach him; and to
+assist in this is the aim of our little volume.
+
+The significance of Horace to the twentieth century will gain in clarity
+from an understanding of his meaning to other days. We shall discover
+that the eternal verity of his message, whether in ethics or in art,
+comes to _us_ with a very particular challenge, warning and cry.
+
+
+
+
+CONTENTS
+
+
+  CHAPTER                                              PAGE
+
+    CONTRIBUTORS TO THE FUND                            ii
+    SABINE HILLS                                       vii
+    EDITORS' PREFACE                                    ix
+    INTRODUCTION: THE DYNAMISM OF THE FEW             xiii
+
+  I. HORACE INTERPRETED
+    The Appeal of Horace                                 3
+    1. Horace the Person                                 6
+    2. Horace the Poet                                   9
+    3. Horace the Interpreter of His Times
+       Horace the Duality                               23
+         i. The Interpreter of Italian Landscape        25
+        ii. The Interpreter of Italian Living           28
+       iii. The Interpreter of Roman Religion           31
+        iv. The Interpreter of the Popular Wisdom       35
+       Horace and Hellenism                             38
+    4. Horace the Philosopher of Life
+       Horace the Spectator and Essayist                39
+         i. The Vanity of Human Wishes                  44
+        ii. The Pleasures of this World                 49
+       iii. Life and Morality                           54
+        iv. Life and Purpose                            59
+         v. The Sources of Happiness                    62
+  II. HORACE THROUGH THE AGES
+    Introductory                                        69
+    1. Horace the Prophet                               70
+    2. Horace and Ancient Rome                          75
+    3. Horace and the Middle Age                        87
+    4. Horace and Modern Times
+       The Rebirth of Horace                           104
+         i. In Italy                                   106
+        ii. In France                                  114
+       iii. In Germany                                 115
+        iv. In Spain                                   118
+         v. In England                                 121
+        vi. In the Schools                             126
+  III. HORACE THE DYNAMIC
+    The Cultivated Few                                 127
+    1. Horace and the Literary Ideal                   131
+    2. Horace and Literary Creation
+         i. The Translator's Ideal                     136
+        ii. Creation                                   143
+    3. Horace in the Living of Men                     152
+  IV. CONCLUSION                                       168
+    NOTES AND BIBLIOGRAPHY                             171
+
+
+
+
+INTRODUCTION: THE DYNAMISM
+OF THE FEW
+
+
+To those who stand in the midst of times and attempt to grasp their
+meaning, civilization often seems hopelessly complicated. The myriad and
+mysterious interthreading of motive and action, of cause and effect,
+presents to the near vision no semblance of a pattern, and the whole web
+is so confused and meaningless that the mind grows to doubt the presence
+of design, and becomes skeptical of the necessity, or even the
+importance, of any single strand.
+
+Yet civilization is on the whole a simple and easily understood
+phenomenon. This is true most apparently of that part of the human
+family of which Europe and the Americas form the principal portion, and
+whose influences have made themselves felt also in remote continents. If
+to us it is less apparently true of the world outside our western
+civilization, the reason lies in the fact that we are not in possession
+of equal facilities for the exercise of judgment.
+
+We are all members one of another, and the body which we form is a
+consistent and more or less unchanging whole. There are certain
+elemental facts which underlie human society wherever it has advanced to
+a stage deserving the name of civilization. There is the intellectual
+impulse, with the restraining influence of reason upon the relations of
+men. There is the active desire to be in right relation with the
+unknown, which we call religion. There is the attempt at the
+beautification of life, which we call art. There is the institution of
+property. There is the institution of marriage. There is the demand for
+the purity of woman. There is the insistence upon certain decencies and
+certain conformities which constitute what is known as morality. There
+is the exchange of material conveniences called commerce, with its
+necessary adjunct, the sanctity of obligation. In a word, there are the
+universal and eternal verities.
+
+Farther, if what we may call the constitution of civilization is thus
+definite, its physical limits are even more clearly defined.
+Civilization is a matter of centers. The world is not large, and its
+government rests upon the shoulders of the few. The metropolis is the
+index of capacity for good and ill in a national civilization. Its
+culture is representative of the common life of town and country.
+
+It follows that the history of civilization is a history of the famous
+gathering-places of men. The story of human progress in the West is the
+story of Memphis, Thebes, Babylon, Nineveh, Cnossus, Athens, Alexandria,
+Rome, and of medieval, Renaissance, and modern capitals. History is a
+stream, in the remoter antiquity of Egypt and Mesopotamia confined
+within narrow and comparatively definite banks, gathering in volume and
+swiftness as it flows through Hellenic lands, and at last expanding into
+the broad and deep basin of Rome, whence its current, dividing, leads
+away in various channels to other ample basins, perhaps in the course of
+time to reunite at some great meeting of waters in the New World. To one
+afloat in the swirl of contradictory eddies, it may be difficult to
+judge of the whence and whither of the troubled current, but the ascent
+of the stream and the exploration of the sources of literature and the
+arts, of morals, politics, and religion, of commerce and mechanics, is
+on the whole no difficult adventure.
+
+Finally, civilization is not only a matter of local habitation, but a
+matter of individual men. The great city is both determined by, and
+determines, its environment; the great man is the product, and in turn
+the producer, of the culture of his nation. The human race is gregarious
+and sequacious, rather than individual and adventurous. Progress depends
+upon the initiative of spirited and gifted men, rather than upon the
+tardy movement of the mass, upon idea rather than force, upon spirit
+rather than matter.
+
+I preface my essay with these reflections because there may be readers
+at first thought skeptical of even modest statements regarding Horace as
+a force in the history of our culture and a contributor to our life
+today. It is only when the continuity of history and the essential
+simplicity and constancy of civilization are understood that the direct
+and vital connection between past and present is seen, and the mind is
+no longer startled and incredulous when the historian records that the
+Acropolis has had more to do with the career of architecture than any
+other group of buildings in the world, or that the most potent influence
+in the history of prose is the Latin of Cicero, or that poetic
+expression is more choice and many men appreciably saner and happier
+because of a Roman poet dead now one thousand nine hundred and thirty
+years.
+
+
+
+
+HORACE AND HIS
+INFLUENCE
+
+
+
+
+I. HORACE INTERPRETED
+
+THE APPEAL OF HORACE
+
+
+In estimating the effect of Horace upon his own and later times, we must
+take into account two aspects of his work. These are, the forms in which
+he expressed himself, and the substance of which they are the garment.
+We shall find him distinguished in both; but in the substance of his
+message we shall find him distinguished by a quality which sets him
+apart from other poets ancient and modern.
+
+This distinctive quality lies neither in the originality nor in the
+novelty of the Horatian message, which, as a matter of fact, is
+surprisingly familiar, and perhaps even commonplace. It lies rather in
+the appealing manner and mood of its communication. It is a message
+living and vibrant.
+
+The reason for this is that in Horace we have, above all, a person. No
+poet speaks from the page with greater directness, no poet establishes
+so easily and so completely the personal relation with the reader, no
+poet is remembered so much as if he were a friend in the flesh. In this
+respect, Horace among poets is a parallel to Thackeray in the field of
+the novel. What the letters of Cicero are to the intrigue and turmoil of
+politics, war, and the minor joys and sorrows of private and social life
+in the last days of the Republic, the lyrics and "Conversations" of
+Horace are to the mood of the philosophic mind of the early Empire. Both
+are lights which afford us a clear view of interiors otherwise but
+faintly illuminated. They are priceless interpreters of their times. In
+modern times, we make environment interpret the poet. We understand a
+Tennyson, a Milton, or even a Shakespeare, from our knowledge of the
+world in which he lived. In the case of antiquity, the process is
+reversed. We reconstruct the times of Caesar and Augustus from fortunate
+acquaintance with two of the most representative men who ever possessed
+the gift of literary genius.
+
+It is because Horace's appeal depends so largely upon his qualities as a
+person that our interpretation of him must center about his personal
+traits. We shall re-present to the imagination his personal appearance.
+We shall account for the personal qualities which contributed to the
+poetic gift that set him apart as the interpreter of the age to his own
+and succeeding generations. We shall observe the natural sympathy with
+men and things by reason of which he reflects with peculiar faithfulness
+the life of city and country. We shall become acquainted with the
+thoughts and the moods of a mind and heart that were nicely sensitive to
+sight and sound and personal contact. We shall hear what the poet has to
+say of himself not only as a member of the human family, but as the user
+of the pen.
+
+This interpretation of Horace as person and poet will be best attempted
+from his own work, and best expressed in his own phrase. The pages which
+follow are a manner of Horatian mosaic. They contain little not said or
+suggested by the poet himself.
+
+
+
+1. HORACE THE PERSON
+
+Horace was of slight stature among even a slight-statured race. At the
+period when we like him best, when he was growing mellower and better
+with advancing years, his black hair was more than evenly mingled with
+grey. The naturally dark and probably not too finely-textured skin of
+face and expansive forehead was deepened by the friendly breezes of both
+city and country to the vigorous golden brown of the Italian. Feature
+and eye held the mirror up to a spirit quick to anger but plenteous in
+good-nature. Altogether, Horace was a short, rotund man, smiling but
+serious, of nothing very remarkable either in appearance or in manner,
+and with a look of the plain citizen. Of all the ancients who have left
+no material likeness, he is the least difficult to know in person.
+
+We see him in a carriage or at the shows with Maecenas, the Emperor's
+fastidious counsellor. We have charming glimpses of him enjoying in
+company the hospitable shade of huge pine and white poplar on the grassy
+terrace of some rose-perfumed Italian garden with noisy fountain and
+hurrying stream. He loiters, with eyes bent on the pavement, along the
+winding Sacred Way that leads to the Forum, or on his way home struggles
+against the crowd as it pushes its way down town amid the dust and din
+of the busy city. He shrugs his shoulders in good-humored despair as the
+sirocco brings lassitude and irritation from beyond the Mediterranean,
+or he sits huddled up in some village by the sea, shivering with the
+winds from the Alps, reading, and waiting for the first swallow to
+herald the spring.
+
+We see him at a mild game of tennis in the broad grounds of the Campus
+Martius. We see him of an evening vagabonding among the nameless common
+folk of Rome, engaging in small talk with dealers in small merchandise.
+He may look in upon a party of carousing friends, with banter that is
+not without reproof. We find him lionized in the homes of the first men
+of the city in peace and war, where he mystifies the not too
+intellectual fair guests with graceful and provokingly passionless
+gallantry. He sits at ease with greater enjoyment under the opaque vine
+and trellis of his own garden. He appears in the midst of his household
+as it bustles with preparation for the birthday feast of a friend, or he
+welcomes at a less formal board and with more unrestrained joy the
+beloved comrade-in-arms of Philippi, prolonging the genial intercourse
+
+  "T_ill Phoebus the red East unbars_
+  A_nd puts to rout the trembling stars_."
+
+Or we see him bestride an indifferent nag, cantering down the Appian
+Way, with its border of tombs, toward the towering dark-green summits of
+the Alban Mount, twenty miles away, or climbing the winding white road
+to Tivoli where it reclines on the nearest slope of the Sabines, and
+pursuing the way beyond it along the banks of headlong Anio where it
+rushes from the mountains to join the Tiber. We see him finally arrived
+at his Sabine farm, the gift of Maecenas, standing in tunic-sleeves at
+his doorway in the morning sun, and contemplating with thankful heart
+valley and hill-side opposite, and the cold stream of Digentia in the
+valley-bottom below. We see him rambling about the wooded uplands of his
+little estate, and resting in the shade of a decaying rustic temple to
+indite a letter to the friend whose not being present is all that keeps
+him from perfect happiness. He participates with the near-by villagers
+in the joys of the rural holiday. He mingles homely philosophy and
+fiction with country neighbors before his own hearth in the big
+living-room of the farm-house.
+
+Horace's place is not among the dim and uncertain figures of a hoary
+antiquity. Only give him modern shoes, an Italian cloak, and a
+walking-stick, instead of sandals and toga, and he may be seen on the
+streets of Rome today. Nor is he less modern in character and bearing
+than in appearance. We discern in his composition the same strange and
+seemingly contradictory blend of the grave and gay, the lively and
+severe, the constant and the mercurial, the austere and the trivial, the
+dignified and the careless, that is so baffling to the observer of
+Italian character and conduct today.
+
+
+
+2. HORACE THE POET
+
+To understand how Horace came to be a great poet as well as an engaging
+person, it is necessary to look beneath this somewhat commonplace
+exterior, and to discern the spiritual man.
+
+The foundations of literature are laid in life. For the production of
+great poetry two conditions are necessary. There must be, first, an age
+pregnant with the celestial fires of deep emotion. Second, there must be
+in its midst one of the rare men whom we call inspired. He must be of
+such sensitive spiritual fiber as to vibrate to every breeze of the
+national passion, of such spiritual capacity as to assimilate the common
+thoughts and moods of the time, of such fine perception and of such
+sureness of command over word, phrase, and rhythm, as to give crowning
+expression to what his soul has made its own.
+
+For abundance of stirring and fertilizing experience, history presents
+few equals of the times when Horace lived. His lifetime fell in an age
+which was in continual travail with great and uncertain movement. Never
+has Fortune taken greater delight in her bitter and insolent game, never
+displayed a greater pertinacity in the derision of men. In the period
+from Horace's birth at Venusia in southeastern Italy, on December 8,
+B.C. 65, to November 27, B.C. 8, when
+
+  "M_ourned of men and Muses nine_,
+  T_hey laid him on the Esquiline_,"
+
+there occurred the series of great events, to men in their midst
+incomprehensible, bewildering, and disheartening, which after times
+could readily interpret as the inevitable change from the ancient and
+decaying Republic to the better knit if less free life of the Empire.
+
+We are at an immense distance, and the differences have long since been
+composed. The menacing murmur of trumpets is no longer audible, and the
+seas are no longer red with blood. The picture is old, and faded, and
+darkened, and leaves us cold, until we illuminate it with the light of
+imagination. Then first we see, or rather feel, the magnitude of the
+time: its hatreds and its selfishness; its differences of opinion,
+sometimes honest and sometimes disingenuous, but always maintained with
+the heat of passion; its divisions of friends and families; its
+lawlessness and violence; its terrifying uncertainties and adventurous
+plunges; its tragedies of confiscation, murder, fire, proscription,
+feud, insurrection, riot, war; the dramatic exits of the leading actors
+in the great play,--of Catiline at Pistoria, of Crassus in the eastern
+deserts, of Clodius at Bovillae within sight of the gates of Rome, of
+Pompey in Egypt, of Cato in Africa, of Caesar, Servius Sulpicius,
+Marcellus, Trebonius and Dolabella, Hirtius and Pansa, Decimus Brutus,
+the Ciceros, Marcus Brutus and Cassius, Sextus the son of Pompey, Antony
+and Cleopatra,--as one after another
+
+  "S_trutted and fretted his hour upon the stage_,
+  A_nd then was heard no more_."
+
+It is in relief against a background such as this that Horace's works
+should be read,--the _Satires_, published in 35 and 30, which the poet
+himself calls _Sermones_, "Conversations," "Talks," or _Causeries_; the
+collection of lyrics called _Epodes_, in 29; three books of _Odes_ in
+23; a book of _Epistles_, or further _Causeries_, in 20; the _Secular
+Hymn_ in 17; a second book of _Epistles_ in 14; a fourth book of _Odes_
+in 13; and a final _Epistle_, _On the Art of Poetry_, at a later and
+uncertain date.
+
+It is above all against such a background that Horace's invocation to
+Fortune should be read:
+
+  G_oddess, at lovely Antium is thy shrine_:
+  R_eady art thou to raise with grace divine_
+  O_ur mortal frame from lowliest dust of earth_,
+  O_r turn triumph to funeral for thy mirth_;
+
+or that other expression of the inscrutable uncertainty of the human
+lot:
+
+  F_ortune, whose joy is e'er our woe and shame_,
+  W_ith hard persistence plays her mocking game_;
+  B_estowing favors all inconstantly_,
+  K_indly to others now, and now to me_.
+  W_ith me, I praise her; if her wings she lift_
+  T_o leave me, I resign her every gift_,
+  A_nd, cloaked about in my own virtue's pride_,
+  W_ed honest poverty, the dowerless bride_.
+
+Horace is not here the idle singer of an empty day. His utterance may be
+a universal, but in the light of history it is no commonplace. It is the
+eloquent record of the life of Rome in an age which for intensity is
+unparalleled in the annals of the ancient world.
+
+And yet men may live a longer span of years than fell to the lot of
+Horace, and in times no less pregnant with event, and still fail to come
+into really close contact with life. Horace's experience was
+comprehensive, and touched the life of his generation at many points. He
+was born in a little country town in a province distant from the
+capital. His father, at one time a slave, and always of humble calling,
+was a man of independent spirit, robust sense, and excellent character,
+whose constant and intimate companionship left everlasting gratitude in
+the heart of the son. He provided for the little Horace's education at
+first among the sons of the "great" centurions who constituted the
+society of the garrison-town of Venusia, afterwards ambitiously took him
+to Rome to acquire even the accomplishments usual among the sons of
+senators, and finally sent him to Athens, garner of wisdom of the ages,
+where the learning of the past was constantly made to live again by
+masters with the quick Athenian spirit of telling or hearing new things.
+
+The intellectual experience of Horace's younger days was thus of the
+broadest character. Into it there entered and were blended the shrewd
+practical understanding of the Italian provincial; the ornamental
+accomplishments of the upper classes; the inspiration of Rome's history,
+with the long line of heroic figures that appear in the twelfth _Ode_ of
+the first book like a gallery of magnificent portraits; first-hand
+knowledge of prominent men of action and letters; unceasing discussion
+of questions of the day which could be avoided by none; and, finally,
+humanizing contact on their own soil with Greek philosophy and poetry,
+Greek monuments and history, and teachers of racial as well as
+intellectual descent from the greatest people of the past.
+
+But Horace's experience assumed still greater proportions. He passed
+from the university of Athens to the larger university of life. The news
+of Caesar's death at the hands of the "Liberators," which reached him as
+a student there at the age of twenty-one, and the arrival of Brutus some
+months after, stirred his young blood. As an officer in the army of
+Brutus, he underwent the hardships of the long campaign, enriching life
+with new friendships formed in circumstances that have always tightened
+the friendly bond. He saw the disastrous day of Philippi, narrowly
+escaped death by shipwreck, and on his return to Italy and Rome found
+himself without father or fortune.
+
+Nor was the return to Rome the end of his education. In the interval
+which followed, Horace's mind, always of philosophic bent, was no doubt
+busy with reflection upon the disparity between the ideals of the
+liberators and the practical results of their actions, upon the
+difference between the disorganized, anarchical Rome of the civil war
+and the gradually knitting Rome of Augustus, and upon the futility of
+presuming to judge the righteousness either of motives or means in a
+world where men, to say nothing of understanding each other, could not
+understand themselves. In the end, he accepted what was not to be
+avoided. He went farther than acquiescence. The growing conviction among
+thoughtful men that Augustus was the hope of Rome found lodgment also in
+his mind. He gravitated from negative to positive. His value as an
+educated man was recognized, and he found himself at twenty-four in
+possession of the always coveted boon of the young Italian, a place in
+the government employ. A clerkship in the treasury gave him salary,
+safety, respectability, a considerable dignity, and a degree of leisure.
+
+Of the leisure he made wise use. Still in the afterglow of his Athenian
+experience, he began to write. He attracted the attention of a limited
+circle of associates. The personal qualities which made him a favorite
+with the leaders of the Republican army again served him well. He won
+the recognition and the favor of men who had the ear of the ruling few.
+In about 33, when he was thirty-two years old, Maecenas, the
+appreciative counsellor, prompted by Augustus, the politic ruler, who
+recognized the value of talent in every field for his plans of
+reconstruction, made him independent of money-getting, and gave him
+currency among the foremost literary men of the city. He triumphed over
+the social prejudice against the son of a freedman, disarmed the
+jealousy of literary rivals, and was assured of fame as well as favor.
+
+Nor was even this the end of Horace's experience with the world of
+action. It may be that his actual participation in affairs did cease
+with Maecenas's gift of the Sabine farm, and it is true that he never
+pretended to live on their own ground the life of the high-born and
+rich, but he nevertheless associated on sympathetic terms with men
+through whom he felt all the activities and ideals of the class most
+representative of the national life, and past experiences and natural
+adaptability enabled him to assimilate their thoughts and emotions.
+
+Thanks to the glowing personal nature of Horace's works, we know who
+many of these friends and patrons were who so enlarged his vision and
+deepened his inspiration. Almost without exception his poems are
+addressed or dedicated to men with whom he was on terms of more than
+ordinary friendship. They were rare men,--fit audience, though few; men
+of experience in affairs at home and in the field, men of natural taste
+and real cultivation, of broad and sane outlook, of warm heart and deep
+sympathies. There was Virgil, whom he calls the half of his own being.
+There was Plotius, and there was Varius, bird of Maeonian song, whom he
+ranks with the singer of the _Aeneid_ himself as the most luminously
+pure of souls on earth. There was Quintilius, whose death was bewailed
+by many good men;--when would incorruptible Faith and Truth find his
+equal? There was Maecenas, well-bred and worldly-wise, the pillar and
+ornament of his fortunes. There was Septimius, the hoped-for companion
+of his mellow old age in the little corner of earth that smiled on him
+beyond all others. There was Iccius, procurator of Agrippa's estates in
+Sicily, sharing Horace's delight in philosophy. There was Agrippa
+himself, son-in-law of Augustus, grave hero of battles and diplomacy.
+There was elderly Trebatius, sometime friend of Cicero and Caesar, with
+dry legal humor early seasoned in the wilds of Gaul. There were Pompeius
+and Corvinus, old-soldier friends with whom he exchanged reminiscences
+of the hard campaign. There was Messalla, a fellow-student at Athens,
+and Pollio, soldier, orator, and poet. There were Julius Florus and
+other members of the ambitious literary cohort in the train of Tiberius.
+There was Aristius Fuscus, the watch of whose wit was ever wound and
+ready to strike. There was Augustus himself, busy administrator of a
+world, who still found time for letters.
+
+It is through the medium of personalities like these that Horace's
+message was delivered to the world of his time and to later generations.
+How far the finished elegance of his expression is due to their
+discriminating taste, and how much of the breadth and sanity of his
+content is due to their vigor of character and cosmopolitan culture, we
+may only conjecture. Literature is not the product of a single
+individual. The responsive and stimulating audience is hardly less
+needful than the poet's inspiration.
+
+Such were the variety and abundance of Horace's experience. It was large
+and human. He had touched life high and low, bond and free, public and
+private, military and civil, provincial and urban, Hellenic, Asiatic,
+and Italian, urban and rustic, ideal and practical, at the cultured
+court and among the ignorant, but not always unwise, common people.
+
+And yet, numbers of men possessed of experience as abundant have died
+without being poets, or even wise men. Their experience was held in
+solution, so to speak, and failed to precipitate. Horace's experience
+did precipitate. Nature gave him the warm and responsive soul by reason
+of which he became a part of all he met. Unlike most of his associates
+among the upper classes to which he rose, his sympathies could include
+the freedman, the peasant, and the common soldier. Unlike most of the
+multitude from which he sprang, he could extend his sympathies to the
+careworn rich and the troubled statesman. He had learned from his own
+lot and from observation that no life was wholly happy, that the cares
+of the so-called fortunate were only different from, not less real than,
+those of the ordinary man, that every human heart had its chamber
+furnished for the entertainment of Black Care, and that the chamber was
+never without its guest.
+
+But not even the precipitate of experience called wisdom will alone make
+the poet. Horace was again endowed by nature with another and rarer and
+equally necessary gift,--the sense of artistic expression. It would be
+waste of time to debate how much he owed to native genius, how much to
+his own laborious patience, and how much to the good fortune of generous
+human contact. He is surely to be classed among examples of what for
+want of a better term we call inspiration. The poet _is_ born. We may
+account for the inspiration of Horace by supposing him of Greek descent
+(as if Italy had never begotten poets of her own), but the mystery
+remains. In the case of any poet, after everything has been said of the
+usual influences, there is always something left to be accounted for
+only on the ground of genius. It was the possession of this that set
+Horace apart from other men of similar experience.
+
+The poet, however, is not the mere accident of birth. Horace is aware of
+a power not himself that makes for poetic righteousness, and realizes
+the mystery of inspiration. The Muse cast upon him at birth her placid
+glance. He expects glory neither on the field nor in the course, but
+looks to song for his triumphs. To Apollo,
+
+  "L_ord of the enchanting shell_,
+  P_arent of sweet and solemn-breathing airs_,"
+
+who can give power of song even unto the mute, he owes all his power and
+all his fame. It is the gift of Heaven that he is pointed out by the
+finger of the passer-by as the minstrel of the Roman lyre, that he
+breathes the divine fire and pleases men. But he is as perfectly
+appreciative of the fact that poets are born and also made, and condemns
+the folly of depending upon inspiration unsupported by effort. He calls
+himself the bee of Matinum, industriously flitting with honeyed thigh
+about the banks of humid Tibur. What nature begins, cultivation must
+develop. Neither training without the rich vein of native endowment, nor
+natural talent without cultivation, will suffice; both must be friendly
+conspirators in the process of forming the poet. Wisdom is the beginning
+and source of writing well. He who would run with success the race that
+is set before him must endure from boyhood the hardships of heat and
+cold, and abstain from women and wine. The gift of God must be made
+perfect by the use of the file, by long waiting, and by conscious
+intellectual discipline.
+
+
+
+3. HORACE THE INTERPRETER
+OF HIS TIMES
+
+HORACE THE DUALITY
+
+Varied as were Horace's experiences, they were mainly of two kinds, and
+there are two Horaces who reflect them. There is a more natural Horace,
+simple and direct, of ordinary Italian manners and ideals, and a less
+natural Horace, finished in the culture of Greece and the
+artificialities of life in the capital. They might be called the
+unconventional and the conventional Horace.
+
+This duality is only the reflection of the two-fold experience of Horace
+as the provincial village boy and as the successful literary man of the
+city. The impressions received from Venusia and its simple population of
+hard-working, plain-speaking folk, from the roaring Aufidus and the
+landscape of Apulia, from the freedman father's common-sense instruction
+as he walked about in affectionate companionship with his son, never
+faded from Horace's mind. The ways of the city were superimposed upon
+the ways of the country, but never displaced nor even covered them. They
+were a garment put on and off, sometimes partly hiding, but never for
+long, the original cloak of simplicity. It is not necessary to think its
+wearer insincere when, constrained by social circumstance, he put it on.
+As in most dualities not consciously assumed, both Horaces were genuine.
+When Davus the slave reproaches his master for longing, while at Rome,
+to be back in the country, and for praising the attractions of the city,
+while in the country, it is not mere discontent or inconsistency in
+Horace which he is attacking. Horace loved both city and country.
+
+And yet, whatever the appeal of the city and its artificialities,
+Horace's real nature called for the country and its simple ways. It is
+the Horace of Venusia and the Sabines who is the more genuine of the
+two. The more formal poems addressed to Augustus and his house-hold
+sometimes sound the note of affectation, but the most exacting critic
+will hesitate to bring a like charge against the odes which celebrate
+the fields and hamlets of Italy and the prowess of her citizen-soldiers
+of time gone by, or against the mellow epistles and lyrics in which the
+poet philosophizes upon the spectacle of human life.
+
+
+_i_. THE INTERPRETER OF ITALIAN
+LANDSCAPE
+
+The real Horace is to be found first of all as the interpreter of the
+beauty and fruitfulness of Italy. It is no land of mere literary
+imagination which he makes us see with such clear-cut distinctness. It
+is not an Italy in Theocritean colors, like the Italy of Virgil's
+_Bucolics_, but the Italy of Horace's own time, the Italy of his own
+birth and experience, and the Italy of today. Horace is not a
+descriptive poet. The reader will look in vain for nature-poems in the
+modern sense. With a word or a phrase only, he flashes upon our vision
+the beautiful, the significant, the permanent in the scenery of Italy.
+The features which he loved best, or which for other reasons caught his
+eye, are those that we still see. There are the oak and the opaque ilex,
+the pine and the poplar, the dark, funereal cypress, the bright flower
+of the too-short-lived rose, and the sweet-scented bed of violets. There
+are the olive groves of Venafrum. Most lovely of sights and most
+beautiful of figures, there is the purple-clustered vine of vari-colored
+autumn wedded to the elm. There is the bachelor plane-tree. There are
+the long-horned, grey-flanked, dark-muzzled, liquid-eyed cattle, grazing
+under the peaceful skies of the Campagna or enjoying in the meadow their
+holiday freedom from the plow; the same cattle that Carducci sings--
+
+  "I_n the grave sweetness of whose tranquil eyes_
+  O_f emerald, broad and still reflected, dwells_
+  A_ll the divine green silence of the plain_."
+
+We are made to see the sterile rust on the corn, and to feel the blazing
+heat of dog-days, when not a breath stirs as the languid shepherd leads
+his flock to the banks of the stream. The sunny pastures of Calabria lie
+spread before us, we see the yellow Tiber at flood, the rushing Anio,
+the deep eddyings of Liris' taciturn stream, the secluded valleys of the
+Apennines, the leaves flying before the wind at the coming of winter,
+the snow-covered uplands of the Alban hills, the mead sparkling with
+hoar-frost at the approach of spring, autumn rearing from the fields her
+head decorous with mellow fruits, and golden abundance pouring forth
+from a full horn her treasures upon the land. It is real Italy which
+Horace cuts on his cameos,--real landscape, real flowers and fruits,
+real men.
+
+  "What joy there is in these songs!"
+
+writes Andrew Lang, in _Letters to Dead Authors_, "what delight of life,
+what an exquisite Hellenic grace of art, what a manly nature to endure,
+what tenderness and constancy of friendship, what a sense of all that is
+fair in the glittering stream, the music of the water-fall, the hum of
+bees, the silvery gray of the olive woods on the hillside! How human are
+all your verses, Horace! What a pleasure is yours in the straining
+poplars, swaying in the wind! What gladness you gain from the white
+crest of Soracte, beheld through the fluttering snowflakes while the
+logs are being piled higher on the hearth!... None of the Latin poets
+your fellows, or none but Virgil, seem to me to have known as well as
+you, Horace, how happy and fortunate a thing it was to be born in Italy.
+You do not say so, like your Virgil, in one splendid passage, numbering
+the glories of the land as a lover might count the perfections of his
+mistress. But the sentiment is ever in your heart, and often on your
+lips. 'Me neither resolute Sparta nor the rich Larissaean plain so
+enraptures as the fane of echoing Albunea, the headlong Anio, the grove
+of Tibur, the orchards watered by the wandering rills.' So a poet should
+speak, and to every singer his own land should be dearest. Beautiful is
+Italy, with the grave and delicate outlines of her sacred hills, her
+dark groves, her little cities perched like eyries on the crags, her
+rivers gliding under ancient walls: beautiful is Italy, her seas and her
+suns."
+
+
+_ii_. THE INTERPRETER OF ITALIAN LIVING
+
+Again, in its visualization of the life of Italy, Horace's art is no
+less clear than in the presentation of her scenery. Where else may be
+seen so many vivid incidental pictures of men at their daily occupations
+of work or play? In _Satire_ and _Epistle_ this is to be expected,
+though there are satirists and writers of letters who never transfer the
+colors of life to their canvas; but the lyrics, too, are kaleidoscopic
+with scenes from the daily round of human life. We are given fleeting
+but vivid glimpses into the career of merchant and sailor. We see the
+sportsman in chase of the boar, the rustic setting snares for the greedy
+thrush, the serenader under the casement, the plowman at his ingleside,
+the anxious mother at the window on the cliff, never taking her eyes
+from the curved shore, the husbandman passing industrious days on his
+own hillside, tilling his own acres with his own oxen, and training the
+vine to the unwedded tree, the young men of the hill-towns carrying
+bundles of fagots along rocky slopes, the rural holiday and its
+festivities, the sun-browned wife making ready the evening meal against
+the coming of the tired peasant. We are shown all the quaint and quiet
+life of the countryside.
+
+The page is often golden with homely precept or tale of the sort which
+for all time has been natural to farmer folk. There is the story of the
+country mouse and the town mouse, the fox and the greedy weasel that ate
+until he could not pass through the crack by which he came, the rustic
+who sat and waited for the river to get by, the horse that called man to
+aid him against the stag, and received the bit forever. The most formal
+and dignified of the _Odes_ are not without the mellow charm of Italian
+landscape and the genial warmth of Italian life. Even in the first six
+_Odes_ of the third book, often called the _Inaugural Odes_, we get such
+glimpses as the vineyard and the hailstorm, the Campus Martius on
+election day, the soldier knowing no fear, cheerful amid hardships under
+the open sky, the restless Adriatic, the Bantine headlands and the
+low-lying Forentum of the poet's infancy, the babe in the wood of
+Voltur, the Latin hill-towns, the craven soldier of Crassus, and the
+stern patriotism of Regulus. Without these the _Inaugurals_ would be but
+barren and cold, to say nothing of the splendid outburst against the
+domestic degradation of the time, so full of color and heat and
+picturesqueness:
+
+  'T_was not the sons of parents such as these_
+  T_hat tinged with Punic blood the rolling seas_,
+  L_aid low the cruel Hannibal, and brought_
+  G_reat Pyrrhus and Antiochus to naught_;
+
+  B_ut the manly brood of rustic soldier folk_,
+  T_aught, when the mother or the father spoke_
+  T_he word austere, obediently to wield_
+  T_he heavy mattock in the Sabine field_,
+
+  O_r cut and bear home fagots from the height_,
+  A_s mountain shadows deepened into night_,
+  A_nd the sun's car, departing down the west_,
+  B_rought to the wearied steer the friendly rest_.
+
+
+_iii_. THE INTERPRETER OF ROMAN RELIGION
+
+Still farther, Horace is an eloquent interpreter of the religion of the
+countryside. He knows, of course, the gods of Greece and the
+East,--Venus of Cythera and Paphos, of Eryx and Cnidus, Mercury, deity
+of gain and benefactor of men, Diana, Lady of the mountain and the
+glade, Delian Apollo, who bathes his unbound locks in the pure waters of
+Castalia, and Juno, sister and consort of fulminating Jove. He is
+impressed by the glittering pomp of religious processions winding their
+way to the summit of the Capitol. In all this, and even in the
+emperor-worship, now in its first stages at Rome and more political than
+religious, he acquiesces, though he may himself be a sparing frequenter
+of the abodes of worship. For him, as for Cicero, religion is one of the
+social and civic proprieties, a necessary part of the national
+mechanism.
+
+But the great Olympic deities do not really stir Horace's enthusiasm, or
+even evoke his warm sympathy. The only _Ode_ in which he prays to one of
+them with really fervent heart stands alone among all the odes to the
+national gods. He petitions the great deity of healing and poetry for
+what we know is most precious to him:
+
+  "W_hen, kneeling at Apollo's shrine_,
+    T_he bard from silver goblet pours_
+  L_ibations due of votive wine_,
+    W_hat seeks he, what implores_?
+
+  "N_ot harvests from Sardinia's shore_;
+    N_ot grateful herds that crop the lea_
+  I_n hot Calabria; not a store_
+    O_f gold, and ivory_;
+
+  "N_ot those fair lands where slow and deep_
+    T_hro' meadows rich and pastures gay_
+  T_hy silent waters, Liris, creep_,
+    E_ating the marge away_.
+
+  "L_et him to whom the gods award_
+    C_alenian vineyards prune the vine_;
+  T_he merchant sell his balms and nard_,
+    A_nd drain the precious wine_
+
+  "F_rom cups of gold--to Fortune dear_
+    B_ecause his laden argosy_
+  C_rosses, unshattered, thrice a year_
+    T_he storm-vexed Midland sea_.
+
+  "R_ipe berries from the olive bough_,
+    M_allows and endives, be my fare_.
+  S_on of Latona, hear my vow!_
+    A_pollo, grant my prayer!_
+
+  "H_ealth to enjoy the blessings sent_
+    F_rom heaven; a mind unclouded, strong_;
+  A_ cheerful heart; a wise content_;
+    A_n honored age; and song_."
+
+This is not the prayer of the city-bred formalist. It reflects the heart
+of humble breeding and sympathies. For the faith which really sets the
+poet aglow we must go into the fields and hamlets of Italy, among the
+householders who were the descendants of the long line of Italian
+forefathers that had worshiped from time immemorial the same gods at the
+same altars in the same way. They were not the gods of yesterday,
+imported from Greece and Egypt, and splendid with display, but the
+simple gods of farm and fold native to the soil of Italy. Whatever his
+conception of the logic of it all, Horace felt a powerful appeal as he
+contemplated the picturesqueness of the worship and the simplicity of
+the worshiper, and reflected upon its genuineness and purity as
+contrasted with what his worldly wisdom told him of the heart of the
+urban worshiper.
+
+Horace may entertain a well-bred skepticism of Jupiter's thunderbolt,
+and he may pass the jest on the indifference of the Epicurean gods to
+the affairs of men. When he does so, it is with the gods of mythology
+and literature he is dealing, not with really religious gods. For the
+old-fashioned faith of the country he entertains only the kindliest
+regard. The images that rise in his mind at the mention of religion pure
+and undefiled are not the gaudy spectacles to be seen in the marbled
+streets of the capital. They are images of incense rising in autumn from
+the ancient altar on the home-stead, of the feast of the Terminalia with
+its slain lamb, of libations of ruddy wine and offerings of bright
+flowers on the clear waters of some ancestral spring, of the simple
+hearth of the farmhouse, of the family table resplendent with the silver
+_salinum_, heirloom of generations, from which the grave paterfamilias
+makes the pious offering of crackling salt and meal to little gods
+crowned with rosemary and myrtle, of the altar beneath the pine to the
+Virgin goddess, of Faunus the shepherd-god, in the humor of wooing,
+roaming the sunny farmfields in quest of retreating wood-nymphs, of
+Priapus the garden-god, and Silvanus, guardian of boundaries, and, most
+of all, and typifying all, of the faith of rustic Phidyle, with clean
+hands and a pure heart raising palms to heaven at the new of the moon,
+and praying for the full-hanging vine, thrifty fields of corn, and
+unblemished lambs. Of the religious life represented by these, Horace is
+no more tempted to make light than he is tempted to delineate the
+Italian rustic as De Maupassant does the French,--as an amusing animal,
+with just enough of the human in his composition to make him ludicrous.
+
+
+_iv_. THE INTERPRETER OF THE POPULAR
+WISDOM
+
+Finally, in the homely, unconventional wisdom which fills _Satire_ and
+_Epistle_ and sparkles from the _Odes_, Horace is again the national
+interpreter. The masses of Rome or Italy had little consciously to do
+with either Stoicism or Epicureanism. Their philosophy was vigorous
+common sense, and was learned from living, not from conning books.
+Horace, too, for all his having been a student of formal philosophy in
+Athens, for all his professed faith in philosophy as a boon for rich and
+poor and old and young, and for all his inclination to yield to the
+natural human impulse toward system and adopt the philosophy of one of
+the Schools, is a consistent follower of neither Stoic nor Epicurean.
+Both systems attracted him by their virtues, and both repelled him
+because of their weaknesses. His half-humorous confession of wavering
+allegiance is only a reflection of the shiftings of a mind open to the
+appeal of both:
+
+And, lest you inquire under what guide or to what hearth I look for
+safety, I will tell you that I am sworn to obedience in no master's
+formula, but am a guest in whatever haven the tempest sweeps me to. Now
+I am full of action and deep in the waves of civic life, an unswerving
+follower and guardian of the true virtue, now I secretly backslide to
+the precepts of Aristippus, and try to bend circumstance to myself, not
+myself to circumstance.
+
+Horace is either Stoic or Epicurean, or neither, or both. The character
+of philosophy depends upon definition of terms, and Epicureanism with
+Horace's definitions of pleasure and duty differed little in practical
+working from Stoicism. In profession, he was more of the Epicurean; in
+practice, more of the Stoic. His philosophy occupies ground between
+both, or, rather, ground common to both. It admits of no name. It is not
+a system. It owes its resemblances to either of the Schools more to his
+own nature than to his familiarity with them, great as that was.
+
+The foundations of Horace's philosophy were laid before he ever heard of
+the Schools. Its basis was a habit of mind acquired by association with
+his father and the people of Venusia, and with the ordinary people of
+Rome. Under the influence of reading, study, and social converse at
+Athens, under the stress of experience in the field, and from long
+contemplation of life in the large in the capital of an empire, it
+crystallized into a philosophy of life. The term "philosophy" is
+misleading in Horace's case. It suggests books and formulae and
+externals. What Horace read in books did not all remain for him the dead
+philosophy of ink and paper; what was in tune with his nature he
+assimilated, to become philosophy in action, philosophy which really was
+the guide of life. His faith in it is unfeigned:
+
+Thus does the time move slowly and ungraciously which hinders me from
+the active realization of what, neglected, is a harm to young and old
+alike.... The envious man, the ill-tempered, the indolent, the
+wine-bibber, the too free lover,--no mortal, in short, is so crude that
+his nature cannot be made more gentle if only he will lend a willing ear
+to cultivation.
+
+The occasional phraseology of the Schools which Horace employs should
+not mislead. It is for the most part the convenient dress for truth
+discovered for himself through experience; or it may be literary
+ornament. The humorous and not unsatiric lines to his poet-friend Albius
+Tibullus,--"when you want a good laugh, come and see me; you will find
+me fat and sleek and my skin well cared for, a pig from the sty of
+Epicurus,"--are as easily the jest of a Stoic as the confession of an
+Epicurean. Horace's philosophy is individual and natural, and
+representative of Roman common sense rather than any School.
+
+
+HORACE AND HELLENISM
+
+A word should be said here regarding the frequent use of the word
+"Hellenic" in connection with Horace's genius. Among the results of his
+higher education, it is natural that none should be more prominent to
+the eye than the influence of Greek letters upon his work; but to call
+Horace Greek is to be blinded to the essential by the presence in his
+poems of Greek form and Greek allusion. It would be as little reasonable
+to call a Roman triumphal arch Greek because it displays column,
+architrave, or a facing of marble from Greece. What makes Roman
+architecture stand is not ornament, but Roman concrete and the Roman
+vault. Horace is Greek as Milton is Hebraic or Roman, or as Shakespeare
+is Italian.
+
+
+
+4. HORACE THE PHILOSOPHER OF LIFE
+
+HORACE THE SPECTATOR AND ESSAYIST
+
+A great source of the richness of personality which constitutes Horace's
+principal charm is to be found in his contemplative disposition. His
+attitude toward the universal drama is that of the onlooker. As we shall
+see, he is not without keen interest in the piece, but his prevailing
+mood is that of mild amusement. In time past, he has himself assumed
+more than one of the rôles, and has known personally many of the actors.
+He knows perfectly well that there is a great deal of the mask and
+buskin on the stage of life, and that each man in his time plays many
+parts. Experience has begotten reflection, and reflection has
+contributed in turn to experience, until contemplation has passed from
+diversion to habit.
+
+Horace is another Spectator, except that his "meddling with any
+practical part in life" has not been so slight:
+
+Thus I live in the world rather as a Spectator of mankind than as one of
+the species, by which means I have made myself a speculative statesman,
+soldier, merchant, and artisan, without ever meddling with any practical
+part in life. I am very well versed in the theory of a husband, or a
+father, and can discern the errors in the economy, business, and
+diversion of others, better than those who are engaged in them: as
+standers-by discover blots which are apt to escape those who are in the
+game.
+
+He looks down from his post upon the life of men with as clear vision as
+Lucretius, whom he admires:
+
+Nothing is sweeter than to dwell in the lofty citadels secure in the
+wisdom of the sages, thence to look down upon the rest of mankind
+blindly wandering in mistaken paths in the search for the way of life,
+striving one with another in the contest of wits, emulous in distinction
+of birth, night and day straining with supreme effort at length to
+arrive at the heights of power and become lords of the world.
+
+Farther, Horace is not merely the stander-by contemplating the game in
+which objective mankind is engaged. He is also a spectator of himself.
+Horace the poet-philosopher contemplates Horace the man with the same
+quiet amusement with which he surveys the human family of which he is an
+inseparable yet detachable part. It is the universal aspect of Horace
+which is the object of his contemplation,--Horace playing a part
+together with the rest of mankind in the infinitely diverting _comédie
+humaine_. He uses himself, so to speak, for illustrative purposes,--to
+point the moral of the genuine; to demonstrate the indispensability of
+hard work as well as genius; to afford concrete proof of the possibility
+of happiness without wealth. He is almost as objective to himself as the
+landscape of the Sabine farm. Horace the spectator sees Horace the man
+against the background of human life just as he sees snow-mantled
+Soracte, or the cold Digentia, or the restless Adriatic, or leafy
+Tarentum, or snowy Algidus, or green Venafrum. The clear-cut elegance of
+his miniatures of Italian scenery is not due to their individual
+interest, but to their connection with the universal life of man.
+Description for its own sake is hardly to be found in Horace. In the
+same way, the vivid glimpses he affords of his own life, person, and
+character almost never prompt the thought of egotism. The most personal
+of poets, his expression of self nowhere becomes selfish expression.
+
+But there are spectators who are mere spectators. Horace is more; he is
+a critic and an interpreter. He looks forth upon life with a keen vision
+for comparative values, and gives sane and distinct expression to what
+he sees.
+
+Horace must not be thought of, however, as a censorious or carping
+critic. His attitude is judicial, and the verdict is seldom other than
+lenient and kindly. He is not a wasp of Twickenham, not a Juvenal
+furiously laying about him with a heavy lash, not a Lucilius with the
+axes of Scipionic patrons to grind, having at the leaders of the people
+and the people themselves. He is in as little degree an Ennius,
+composing merely to gratify the taste for entertainment. There are some,
+as a matter of fact, to whom in satire he seems to go beyond the limit
+of good-nature. At vice in pronounced form, at all forms of unmanliness,
+he does indeed strike out, like Lucilius the knight of Campania, his
+predecessor and pattern, gracious only to virtue and to the friends of
+virtue; but those whose hands are clean and whose hearts are pure need
+fear nothing. Even those who are guilty of the ordinary frailties of
+human kind need fear nothing worse than being good-humoredly laughed at.
+The objects of Horace's smiling condemnation are not the trifling faults
+of the individual or the class, but the universal grosser stupidities
+which poison the sources of life.
+
+The Horace of the _Satires_ and _Epistles_ is better called an essayist.
+That he is a satirist at all is less by virtue of intention than because
+of the mere fact that he is a spectator. To look upon life with the eye
+of understanding is to see men the prey to passions and delusions,--the
+very comment on which can be nothing else than satire.
+
+And now, what is it that Horace sees as he sits in philosophic
+detachment on the serene heights of contemplation; and what are his
+reflections?
+
+The great factor in the character of Horace is his philosophy of life.
+To define it is to give the meaning of the word Horatian as far as
+content is concerned, and to trace the thread which more than any other
+makes his works a unity.
+
+
+_i_. THE VANITY OF HUMAN WISHES
+
+Horace looks forth upon a world of discontented and restless humanity.
+The soldier, the lawyer, the farmer, the trader, swept over the earth in
+the passion for gain, like dust in the whirlwind,--all are dissatisfied.
+Choose anyone you will from the midst of the throng; either with greed
+for money or with miserable ambition for power, his soul is in travail.
+Some are dazzled by fine silver, some lose their senses over bronze.
+Some are ever straining after the prizes of public life. There are many
+who love not wisely, but too well. Most are engaged in a mad race for
+money, whether to assure themselves of retirement and ease in old age,
+or out of the sportsman's desire to outstrip their rivals in the course.
+As many as are mortal men, so many are the objects of their pursuit.
+
+And, over and about all men, by reason of their bondage to avarice,
+ambition, appetite, and passion, hovers Black Care. It flits above their
+sleepless eyes in the panelled ceiling of the darkened palace, it sits
+behind them on the courser as they rush into battle, it dogs them as
+they are at the pleasures of the bronze-trimmed yacht. It pursues them
+everywhere, swifter than the deer, swifter than the wind that drives
+before it the storm-cloud. Not even those who are most happy are
+entirely so. No lot is wholly blest. Perfect happiness is unattainable.
+Tithonus, with the gift of ever-lasting life, wasted away in undying old
+age. Achilles, with every charm of youthful strength and gallantry, was
+doomed to early death. Not even the richest are content. Something is
+always lacking in the midst of abundance, and desire more than keeps
+pace with satisfaction.
+
+Nor are the multitude less enslaved to their desires than the few. Glory
+drags bound to her glittering chariot-wheels the nameless as well as the
+nobly-born. The poor are as inconstant as the rich. What of the man who
+is not rich? You may well smile. He changes from garret to garret, from
+bed to bed, from bath to bath and barber to barber, and is just as
+seasick in a hired boat as the wealthy man on board his private yacht.
+
+And not only are all men the victims of insatiable desire, but all are
+alike subject to the uncertainties of fate. Insolent Fortune without
+notice flutters her swift wings and leaves them. Friends prove
+faithless, once the cask is drained to the lees. Death, unforeseen and
+unexpected, lurks in ambush for them in a thousand places. Some are
+swallowed up by the greedy sea. Some the Furies give to destruction in
+the grim spectacle of war. Without respect of age or person, the ways of
+death are thronged with young and old. Cruel Proserpina passes no man
+by.
+
+Even they who for the time escape the object of their dread must at last
+face the inevitable. Invoked or not invoked, Death comes to release the
+lowly from toil, and to strip the proud of power. The same night awaits
+all; everyone must tread once for all the path of death. The summons is
+delivered impartially at the hovels of the poor and the turreted palaces
+of the rich. The dark stream must be crossed by prince and peasant
+alike. Eternal exile is the lot of all, whether nameless and poor, or
+sprung of the line of Inachus:
+
+  A_las! my Postumus, alas! how speed_
+  T_he passing years: nor can devotion's deed_
+  S_tay wrinkled age one moment on its way_,
+  N_or stay one moment death's appointed day_;
+
+  N_ot though with thrice a hundred oxen slain_
+  E_ach day thou prayest Pluto to refrain_,
+  T_he unmoved by tears, who threefold Geryon drave_,
+  A_nd Tityus, beneath the darkening wave_.
+
+  T_he wave we all must one day surely sail_
+  W_ho live and breathe within this mortal vale_,
+  W_hether our lot with princely rich to fare_,
+  W_hether the peasant's lowly life to share_.
+
+  I_n vain for us from murderous Mars to flee_,
+  I_n vain to shun the storms of Hadria's sea_,
+  I_n vain to fear the poison-laden breath_
+  O_f Autumn's sultry south-wind, fraught with death_;
+
+  A_down the wandering stream we all must go_,
+  A_down Cocytus' waters, black and slow_;
+  T_he ill-famed race of Danaus all must see_,
+  A_nd Sisyphus, from labors never free_.
+
+  A_ll must be left,--lands, home, beloved wife_,--
+  A_ll left behind when we have done with life_;
+  O_ne tree alone, of all thou holdest dear_,
+  S_hall follow thee,--the cypress, o'er thy bier!_
+
+  T_hy wiser heir will soon drain to their lees_
+  T_he casks now kept beneath a hundred keys_;
+  T_he proud old Caecuban will stain the floor_,
+  M_ore fit at pontiffs' solemn feasts to pour_.
+
+Nor is there a beyond filled with brightness for the victim of fate to
+look to. Orcus is unpitying. Mercury's flock of souls is of sable hue,
+and Proserpina's realm is the hue of the dusk. Black Care clings to poor
+souls even beyond the grave. Dull and persistent, it is the only
+substantial feature of the insubstantial world of shades. Sappho still
+sighs there for love of her maiden companions, the plectrum of Alcaeus
+sounds its chords only to songs of earthly hardships by land and sea,
+Prometheus and Tantalus find no surcease from the pangs of torture,
+Sisyphus ever rolls the returning stone, and the Danaids fill the
+ever-emptying jars.
+
+
+_ii_. THE PLEASURES OF THIS WORLD
+
+The picture is dark with shadow, and must be relieved with light and
+color. The hasty conclusion should not be drawn that this is the
+philosophy of gloom. The tone of Horace is neither that of the cheerless
+skeptic nor that of the despairing pessimist. He does not rise from his
+contemplation with the words or the feeling of Lucretius:
+
+O miserable minds of men, O blind hearts! In what obscurity and in what
+dangers is passed this uncertain little existence of yours!
+
+He would have agreed with the philosophy of pessimism that life contains
+striving and pain, but he would not have shared in the gloom of a
+Schopenhauer, who in all will sees action, in all action want, in all
+want pain, who looks upon pain as the essential condition of will, and
+sees no end of suffering except in the surrender of the will to live.
+The vanity of human wishes is no secret to Horace, but life is not to
+him "a soap-bubble which we blow out as long and as large as possible,
+though each of us knows perfectly well it must sooner or later burst."
+
+No, life may have its inevitable pains and its inevitable end, but it is
+far more substantial in composition than a bubble. For those who possess
+the secret of detecting and enjoying them, it contains solid goods in
+abundance.
+
+What is the secret?
+
+The first step toward enjoyment of the human lot is acquiescence. Of
+course existence has its evils and bitter end, but these are minimized
+for the man who frankly faces them, and recognizes the futility of
+struggling against the fact. How much better to endure whatever our lot
+shall impose. Quintilius is dead: it is hard; but patience makes lighter
+the ill that fate will not suffer us to correct.
+
+And then, when we have once yielded, and have ceased to look upon
+perfect happiness as a possibility, or upon any measure of happiness as
+a right to be demanded, we are in position to take the second step;
+namely, to make wise use of life's advantages:
+
+  M_id all thy hopes and all thy cares, mid all thy wraths and fears_,
+  T_hink every shining day that dawns the period to thy years_.
+  T_he hour that comes unlooked for is the hour that doubly cheers_.
+
+Because there are many things to make life a pleasure. There is the
+solace of literature; Black Care is lessened by song. There are the
+riches of philosophy, there is the diversion of moving among men. There
+are the delights of the country and the town. Above all, there are
+friends with whom to share the joy of mere living in Italy. For what
+purpose, if not to enjoy, are the rose, the pine, and the poplar, the
+gushing fountain, the generous wine of Formian hill and Massic slope,
+the villa by the Tiber, the peaceful and healthful seclusion of the
+Sabines, the pleasing change from the sharp winter to the soft zephyrs
+of spring, the apple-bearing autumn,--"season of mists and mellow
+fruitfulness"? What need to be unhappy in the midst of such a world?
+
+And the man who is wise will not only recognize the abounding
+possibilities about him, but will seize upon them before they vanish.
+Who knows whether the gods above will add a tomorrow to the to-day? Be
+glad, and lay hand upon the gifts of the passing hour! Take advantage of
+the day, and have no silly faith in the morrow. It is as if Omar were
+translating Horace:
+
+
+  "W_aste not your Hour, nor in the vain pursuit_
+  0_f This and That endeavor and dispute;_
+    B_etter be jocund with the fruitful Grape_
+  T_han sadden after none, or bitter, Fruit._
+
+  "A_h! fill the Cup: what boots it to repeat_
+  H_ow Time is slipping underneath our Feet:_
+    U_nborn tomorrow, and dead yesterday,_
+  W_hy fret about them if today be sweet!"_
+
+The goods of existence must be enjoyed here and now, or never, for all
+must be left behind. What once is enjoyed is forever our very own. Happy
+is the man who can say, at each day's close, "I have lived!" The day is
+his, and cannot be recalled. Let Jove overcast with black cloud the
+heavens of to-morrow, or let him make it bright with clear sunshine,--as
+he pleases; what the flying hour of to-day has already given us he never
+can revoke. Life is a stream, now gliding peacefully onward in
+mid-channel to the Tuscan sea, now tumbling upon its swirling bosom the
+wreckage of flood and storm. The pitiful human being on its banks, ever
+looking with greedy expectation up the stream, or with vain regret at
+what is past, is left at last with nothing at all. The part of wisdom
+and of happiness is to keep eyes on that part of the stream directly
+before us, the only part which is ever really seen.
+
+  Y_ou see how, deep with gleaming snow,_
+  S_oracte stands, and, bending low,_
+    Y_on branches droop beneath their burden,_
+      A_nd streams o'erfrozen have ceased their flow._
+
+  A_way with cold! the hearth pile high_
+  W_ith blazing logs; the goblet ply_
+    W_ith cheering Sabine, Thaliarchus;_
+      D_raw from the cask of long years gone by._
+
+  A_ll else the gods entrust to keep,_
+  W_hose nod can lull the winds to sleep,_
+    V_exing the ash and cypress agèd,_
+      O_r battling over the boiling deep._
+
+  S_eek not to pierce the morrow's haze,_
+  B_ut for the moment render praise;_
+    N_or spurn the dance, nor love's sweet passion,_
+      E_re age draws on with its joyless days._
+
+  N_ow should the campus be your joy,_
+  A_nd whispered loves your lips employ,_
+    W_hat time the twilight shadows gather,_
+      A_nd tryst you keep with the maiden coy._
+
+  F_rom near-by nook her laugh makes plain_
+  W_here she had meant to hide, in vain!_
+    H_ow arch her struggles o'er the token_
+      F_rom yielding which she can scarce refrain!_
+
+
+_iii_. LIFE AND MORALITY
+
+But Horace's Epicureanism never goes to the length of Omar's. He would
+have shrunk from the Persian as extreme:
+
+  "YESTERDAY _This Day's Madness did prepare_,
+  TOMORROW'S _Silence, Triumph, or Despair_,
+    _Drink! for you know not whence you came, nor why_:
+  D_rink! for you know not why you go, nor where_."
+
+The Epicureanism of Horace is more nearly that of Epicurus himself, the
+saintly recluse who taught that "to whom little is not enough, nothing
+is enough," and who regarded plain living as at the same time a duty and
+a happiness. The lives of too liberal disciples have been a slander on
+the name of Epicurus. Horace is not among them. With degenerate
+Epicureans, whose philosophy permitted them "To roll with pleasure in a
+sensual sty," he had little in common. The extraction from life of the
+honey of enjoyment was indeed the highest purpose, but the purpose could
+never be realized without the exercise of discrimination, moderation,
+and a measure of spiritual culture. Life was an art, symmetrical,
+unified, reposeful,--like the poem of perfect art, or the statue, or
+the temple. In actual conduct, the hedonist of the better type differed
+little from the Stoic himself.
+
+The gracious touch and quiet humor with which Horace treats even the
+most serious themes are often misleading. This effect is the more
+possible by reason of the presence among his works of passages, not many
+and for the most part youthful, in which he is guilty of too great
+freedom.
+
+Horace is really a serious person. He is even something of a preacher, a
+praiser of the time when he was a boy, a censor and corrector of his
+youngers. So far as popular definitions of Stoic and Epicurean are
+concerned, he is much more the former than the latter.
+
+For Horace's counsel is always for moderation, and sometimes for
+austerity. He is not a wine-bibber, and he is not a total abstainer. To
+be the latter on principle would never have occurred to him. The vine
+was the gift of God. Prefer nothing to it for planting in the mellow
+soil of Tibur, Varus; it is one of the compensations of life:
+
+  "I_ts magic power of wit can spread_
+  T_he halo round a dullard's head_,
+  C_an make the sage forget his care_,
+  H_is bosom's inmost thoughts unbare_,
+  A_nd drown his solemn-faced pretense_
+  B_eneath its blithesome influence_.
+  B_right hope it brings and vigor back_
+  T_o minds outworn upon the rack_,
+  A_nd puts such courage in the brain_
+  A_s makes the poor be men again_,
+  W_hom neither tyrants' wrath affrights_,
+  N_or all their bristling satellites_."
+
+When wine is a curse, it is not so because of itself, but because of
+excess in its use. The cup was made for purposes of pleasure, but to
+quarrel over it,--leave that to barbarians! Take warning by the
+Thracians, and the Centaurs and Lapiths, never to overstep the bounds of
+moderation. Pleasure with after-taste of bitterness is not real
+pleasure. Pleasure purchased with pain is an evil.
+
+Upon women he looks with the same philosophic calm as upon wine. Love,
+too, was to be regarded as one of the contributions to life's pleasure.
+To dally with golden-haired Pyrrha, with Lyce, or with Glycera, the
+beauty more brilliant than Parian marble, was not in his eyes to be
+blamed in itself. What he felt no hesitation in committing to his poems
+for friends and the Emperor to read, they on their part felt as little
+hesitation in confessing to him. The fault of love lay not in itself,
+but in abuse. This is not said of adultery, which was always an offense
+because it disturbed the institution of marriage and rotted the
+foundation of society.
+
+There is thus no inconsistency in the Horace of the love poems and the
+Horace of the _Secular Hymn_ who petitions Our Lady Juno to prosper the
+decrees of the Senate encouraging the marriage relation and the rearing
+of families. Of the illicit love that looked to Roman women in the home,
+he emphatically declares his innocence, and against it directs the last
+and most powerful of the six _Inaugural Odes_; for this touched the
+family, and, through the family, the State. This, with neglect of
+religion, he classes together as the two great causes of national decay.
+
+Horace is not an Ovid, with no sense of the limits of either indulgence
+or expression. He is not a Catullus, tormented by the furies of youthful
+passion. The flame never really burned him. We search his pages in vain
+for evidence of sincere and absorbing passion, whether of the flesh or
+of the spirit. He was guilty of no breach of the morals of his time, and
+it is likely also, in spite of Suetonius, that he was guilty of no
+excess. He was a supporter in good faith of the Emperor in his attempts
+at the moral improvement of the State. If Virgil in the writing of the
+_Georgics_ or the _Aeneid_ was conscious of a purpose to second the
+project of Augustus, it is just as likely that his intimate friend
+Horace also wrote with conscious moral intent. Nothing is more in
+keeping with his conception of the end and effect of literature:
+
+It shapes the tender and hesitating speech of the child; it straight
+removes his ear from shameless communication; presently with friendly
+precepts it moulds his inner self; it is a corrector of harshness and
+envy and anger; it sets forth the righteous deed; it instructs the
+rising generations with the familiar example; it is a solace to the
+helpless and the sick at heart.
+
+
+_iv_. LIFE AND PURPOSE
+
+Horace's philosophy of life is thus based upon something deeper than the
+principle of seizing upon pleasure. His definition of pleasure is not
+without austerity; he preaches the positive virtues of performance as
+well as the negative virtue of moderation. He could be an unswerving
+follower and guardian of true virtue, and could bend self to
+circumstance.
+
+He stands for domestic purity, and for patriotic devotion. _Dulce et
+decorum est pro patria mori_,--to die for country is a privilege and a
+glory. His hero is Regulus, returning steadfastly through the ranks of
+protesting friends to keep faith with the pitiless executioners of
+Carthage. Regulus, and the Scauri, and Paulus, who poured out his great
+spirit on the disastrous field of Cannae, and Fabricius, of simple heart
+and absolute integrity, he holds up as examples to his generation. In
+praise of the sturdy Roman qualities of courage and steadfastness he
+writes his most inspired lines:
+
+The righteous man of unswerving purpose is shaken in his solid will
+neither by the unworthy demands of inflamed citizens, nor by the
+frowning face of the threatening tyrant, nor by the East-wind, turbid
+ruler of the restless Adriatic, nor by the great hand of fulminating
+Jove himself. If the heavens should fall asunder, the crashing fragments
+would descend upon him unterrified.
+
+He preaches the gospel of faithfulness not only to family, country, and
+purpose, but to religion. He will shun the man who violates the secrets
+of the mysteries. The curse of the gods is upon all such, and pursues
+them to the day of doom.
+
+Faithfulness to friendship stands out with no less distinctness. While
+Horace is in his right mind, he will value nothing so highly as a
+delightful friend. He is ready, whenever fate calls, to enter with
+Maecenas even upon the last journey. Among the blest is he who is
+unafraid to die for dear friends or native land.
+
+Honor, too,--the fine spirit of old Roman times, that refused bribes,
+that would not take advantage of an enemy's weakness, that asked no
+questions save the question of what was right, that never turned its
+back upon duty, that swore to its own hurt and changed not; the same
+lofty spirit the recording of whose manifestations never fails to bring
+the glow to Livy's cheek and the gleam to his eye,--honor is also first
+and foremost in Horace's esteem. Regulus, the self-sacrificing; Curius,
+despising the Samnite gold; Camillus, yielding private grievance to come
+to his country's aid; Cato, dying for his convictions after Thapsus, are
+his inspirations. The hero of his ideal fears disgrace worse than death.
+The diadem and the laurel are for him only who can pass on without the
+backward glance upon stores of treasure.
+
+Finally, not least among the qualities which enter into the ideal of
+Horace is the simplicity of the olden time, when the armies of Rome were
+made up of citizen-soldiers, and the eye of every Roman was single to
+the glory of the State, and the selfishness of luxury was yet unknown.
+
+  S_cant were their private means, the public, great_;
+     'T_was still a commonwealth, that State_;
+  N_o portico, surveyed with private rule_,
+     A_ssured one man the shady cool_.
+
+  T_he laws approved the house of humble sods_;
+     'T_was only to the homes of gods_,
+  T_he structures reared with earnings of the nation_,
+     T_hey gave rich marble decoration_.
+
+The healthful repose of heart which comes from unity of purpose and
+simple devotion to plain duty, he sees existing still, even in his own
+less strenuous age, in the remote and peaceful countryside. Blessed is
+the man far from the busy life of affairs, like the primeval race of
+mortals, who tills with his own oxen the acres of his fathers! Horace
+covets the gift earnestly for himself, because his calm vision assures
+him that it, of all the virtues, lies next to happy living.
+
+
+_v_. THE SOURCES OF HAPPINESS
+
+Here we have arrived at the kernel of Horace's philosophy, the key which
+unlocks the casket containing his message to all men of every
+generation. In actual life, at least, mankind storms the citadel of
+happiness, as if it were something material and external, to be taken by
+violent hands. Horace locates the citadels of happiness in his own
+breast. It is the heart which is the source of all joy and all sorrow,
+of all wealth and all poverty. Happiness is to be sought, not outside,
+but within. Man does not create his world; he _is_ his world.
+
+Men are madly chasing after peace of heart in a thousand wrong ways, all
+the while over-looking the right way, which is nearest at hand. To
+observe their feverish eagerness, the spectator might be led to think
+happiness identical with possession. And yet wealth and happiness are
+neither the same nor equivalent. They may have nothing to do one with
+the other. Money, indeed, is not an evil in itself, but it is not
+essential except so far as it is a mere means of life. Poor men may be
+happy, and the wealthy may be poor in the midst of their riches. A man's
+wealth consisteth not in the abundance of the things he possesseth. More
+justly does he lay claim to the name of rich man who knows how to use
+the blessings of the gods wisely, who is bred to endurance of hard want,
+and who fears the disgraceful action worse than he fears death.
+
+Real happiness consists in peace of mind and heart. Everyone desires it,
+and everyone prays for it,--the sailor caught in the storms of the
+Aegean, the mad Thracian, the Mede with quiver at his back. But peace is
+not to be purchased. Neither gems nor purple nor gold will buy it, nor
+favor. Not all the externals in the world can help the man who depends
+upon them alone.
+
+  N_ot treasure trove nor consul's stately train_
+  D_rives wretched tumult from the troubled brain_;
+  S_warming with cares that draw unceasing sighs_,
+  T_he fretted ceiling hangs o'er sleepless eyes_.
+
+Nor is peace to be pursued and laid hold of, or discovered in some other
+clime. Of what avail to fly to lands warmed by other suns? What exile
+ever escaped himself? It is the soul that is at fault, that never can be
+freed from its own bonds. The sky is all he changes:
+
+  T_he heavens, not themselves, they change_
+    W_ho haste to cross the seas_.
+
+The happiness men seek for is in themselves, to be found at little
+Ulubrae in the Latin marshes as easily as in great cities, if only they
+have the proper attitude of mind and heart.
+
+But how insure this peace of mind?
+
+At the very beginning, and through to the end, the searcher after
+happiness must recognize that unhappiness is the result of slavery of
+some sort, and that slavery in turn is begotten of desire. The man who
+is overfond of anything will be unwilling to let go his hold upon it.
+Desire will curb his freedom. The only safety lies in refusing the rein
+to passion of any kind. "To gaze upon nothing to lust after it,
+Numicius, is the simple way of winning and of keeping happiness." He who
+lives in either desire or fear can never enjoy his possessions. He who
+desires will also fear; and he who fears can never be a free man. The
+wise man will not allow his desires to become tyrants over him. Money
+will be his servant, not his master. He will attain to wealth by curbing
+his wants. You will be monarch over broader realms by dominating your
+spirit than by adding Libya to far-off Gades.
+
+The poor man, in spite of poverty, may enjoy life more than the rich. It
+is possible under a humble roof to excel in happiness kings and the
+friends of kings. Wealth depends upon what men want, not upon what men
+have. The more a man denies himself, the greater are the gifts of the
+gods to him. One may hold riches in contempt, and thus be a more
+splendid lord of wealth than the great landowner of Apulia. By
+contracting his desires he may extend his revenues until they are more
+than those of the gorgeous East. Many wants attend those who have many
+ambitions. Happy is the man to whom God has given barely enough. Let him
+to whom fate, fortune, or his own effort has given this enough, desire
+no more. If the liquid stream of Fortune should gild him, it would make
+his happiness nothing greater, because money cannot change his nature.
+To the man who has good digestion and good lungs and is free from gout,
+the riches of a king could add nothing. What difference does it make to
+him who lives within the limits of nature whether he plow a hundred
+acres or a thousand?
+
+As with the passion of greed, so with anger, love, ambition for power,
+and all the other forms of desire which lodge in the human heart. Make
+them your slaves, or they will make you theirs. Like wrath, they are all
+forms of madness. The man who becomes avaricious has thrown away the
+armor of life, has abandoned the post of virtue. Once let a man submit
+to desire of an unworthy kind, and he will find himself in the case of
+the horse that called a rider to help him drive the stag from their
+common feeding-ground, and received the bit and rein forever.
+
+So Horace will enter into no entangling alliances with ambition for
+power, wealth, or position, or with the more personal passions. By some
+of them he has not been altogether untouched, and he has not regret; but
+to continue, at forty-five, would not do. He will be content with just
+his home in the Sabine hills. This is what he always prayed for, a patch
+of ground, not so very large, with a spring of ever-flowing water, a
+garden, and a little timberland. He asks for nothing more, except that a
+kindly fate will make these beloved possessions forever his own. He will
+go to the ant, for she is an example, and consider her ways and be wise,
+and be content with what he has as soon as it is enough. He will not
+enter the field of public life, because it would mean the sacrifice of
+peace. He would have to keep open house, submit to the attentions of a
+body-guard of servants, keep horses and carriage and a coachman, and be
+the target for shafts of envy and malice; in a word, lose his freedom
+and become the slave of wretched and burdensome ambition.
+
+The price is too great, the privilege not to his liking. Horace's prayer
+is rather to be freed from the cares of empty ambition, from the fear of
+death and the passion of anger, to laugh at superstition, to enjoy the
+happy return of his birthday, to be forgiving of his friends, to grow
+more gentle and better as old age draws on, to recognize the proper
+limit in all things:
+
+  "H_ealth to enjoy the blessings sent_
+    F_rom heaven; a mind unclouded, strong_;
+  A_ cheerful heart; a wise content_;
+    A_n honored age; and song_."
+
+
+
+
+II. HORACE THROUGH THE AGES
+
+INTRODUCTORY
+
+
+Thus much we have had to say in the interpretation of Horace. Our
+interpretation has centered about his qualities as a person: his broad
+experience, his sensitiveness, his responsiveness, his powers of
+assimilation, his gift of expression, his concreteness as a
+representative of the world of culture, as a son of Italy, as a citizen
+of eternal Rome, as a member of the universal human family.
+
+Let us now tell the story of Horace in the life of after times. It will
+include an account of the esteem in which he was held while still in the
+flesh; of the fame he enjoyed and the influence he exercised until Rome
+as a great empire was no more and the Roman tongue and Roman spirit
+alike were decayed; of the way in which his works were preserved intact
+through obscure centuries of ignorance and turmoil; and of their second
+birth when men began to delight once more in the luxuries of the mind.
+This will prepare the way for a final chapter, on the peculiar quality
+and manner of the Horatian influence.
+
+
+
+1. HORACE THE PROPHET
+
+Horace is aware of his qualities as a poet. In an interesting blend, of
+which the first and larger part is detached and judicial estimation of
+his work, a second part literary convention, and the third and least a
+smiling and inoffensive self-assertion, he prophesies his own
+immortality.
+
+From infancy he has been set apart as the child of the Muses. At birth
+Melpomene marked him for her own. The doves of ancient story covered him
+over with the green leaves of the Apulian wood as, lost and overcome by
+weariness, he lay in peaceful slumber, and kept him safe from creeping
+and four-footed things, a babe secure in the favor of heaven. The sacred
+charm that rests upon him preserved him in the rout at Philippi, rescued
+him from the Sabine wolf, saved him from death by the falling tree and
+the waters of shipwreck. He will abide under its shadow wherever he may
+go,--to his favorite haunts in Latium, to the far north where fierce
+Britons offer up the stranger to their gods, to the far east and the
+blazing sands of the Syrian desert, to rude Spain and the streams of
+Scythia, to the treeless, naked fields of the frozen pole, to homeless
+lands under the fiery car of the too-near sun. He will rise superior to
+the envy of men. The pinions that bear him aloft through the clear ether
+will be of no usual or flagging sort. For him there shall be no death,
+no Stygian wave across which none returns:
+
+  F_orego the dirge; let no one raise the cry_,
+    O_r make unseemly show of grief and gloom_,
+  N_or think o'er me, who shall not really die_,
+    T_o rear the empty honor of the tomb_.
+
+His real self will remain among men, ever springing afresh in their
+words of praise:
+
+  N_ot lasting bronze nor pyramid upreared_
+  B_y princes shall outlive my powerful rhyme_.
+  T_he monument I build, to men endeared_,
+  N_ot biting rain, nor raging wind, nor time_,
+  E_ndlessly flowing through the countless years_,
+  S_hall e'er destroy. I shall not wholly die_;
+  T_he grave shall have of me but what appears_;
+  F_or me fresh praise shall ever multiply_.
+  A_s long as priest and silent Vestal wind_
+  T_he Capitolian steep, tongues shall tell o'er_
+  H_ow humble Horace rose above his kind_
+  W_here Aufidus's rushing waters roar_
+  I_n the parched land where rustic Daunus reigned_,
+  A_nd first taught Grecian numbers how to run_
+  I_n Latin measure. Muse! the honor gained_
+  I_s thine, for I am thine till time is done_.
+  G_racious Melpomene, O hear me now_,
+  A_nd with the Delphic bay gird round my brow_.
+
+Yet Horace does not always refer to his poetry in this serious vein; if
+indeed we are to call serious a manner of literary prophecy which has
+always been more or less conventional. His frequent disclaimers of the
+higher inspiration are well known. The Muse forbids him to attempt the
+epic strain or the praise of Augustus and Agrippa. In the face of grand
+themes like these, his genius is slight. He will not essay even the
+strain of Simonides in the lament for an Empire stained by land and sea
+with the blood of fratricidal war. His themes shall be rather the feast
+and the mimic battles of revelling youths and maidens, the making of
+love in the grots of Venus. His lyre shall be jocose, his plectrum of
+the lighter sort.
+
+He not only half-humorously disclaims the capacity for lofty themes,
+but, especially as he grows older and more philosophic, and perhaps less
+lyric, half-seriously attributes whatever he does to persevering effort.
+He has
+
+  "N_or the pride nor ample pinion_
+    T_hat the Theban eagle bear_,
+  S_ailing with supreme dominion_
+    T_hrough the azure deep of air_;"
+
+he is the bee, with infinite industry flitting from flower to flower,
+the unpretending maker of verse, fashioning his songs with only toil and
+patience. He believes in the file, in long delay before giving forth to
+the world the poem that henceforth can never be recalled. The only
+inspiration he claims for _Satire_ and _Epistle_, which, he says,
+approximate the style of spoken discourse, lies in the aptness and
+patience with which he fashions his verses from language in ordinary
+use, giving to words new dignity by means of skillful combination. Let
+anyone who wishes to be convinced undertake to do the same; he will find
+himself perspiring in a vain attempt.
+
+And if Horace did not always conceive of his inspiration as purely
+ethereal, neither did he always dream of the path to immortality as
+leading through the spacious reaches of the upper air. At forty-four, he
+is already aware of a more pedestrian path. He has observed the ways of
+the public with literature, as any writer must observe them still, and
+knows also of a certain use to which his poems are being put. Perhaps
+with some secret pride, but surely with a philosophic resignation that
+is like good-humored despair, he sees that the path is pedagogical. In
+reproachful tones, he addresses the book of _Epistles_ that is so eager
+to try its fortune in the big world: But if the prophet is not blinded
+by disgust at your foolishness, you will be prized at Rome until the
+charm of youth has left you. Then, soiled and worn by much handling of
+the common crowd, you will either silently give food to vandal worms, or
+seek exile in Utica, or be tied up and sent to Ilerda. The monitor you
+did not heed will laugh, like the man who sent his balky ass headlong
+over the cliff; for who would trouble to save anyone against his will?
+This lot, too, you may expect: for a stammering old age to come upon you
+teaching children to read in the out-of-the-way parts of town.
+
+
+
+2. HORACE AND ANCIENT ROME
+
+That Horace refers to being pointed out by the passer-by as the minstrel
+of the Roman lyre, or, in other words, as the laureate, that his satire
+provokes sufficient criticism to draw from him a defense and a
+justification of himself against the charge of cynicism, and that he
+finally records a greater freedom from the tooth of envy, are all
+indications of the prominence to which he rose. That Virgil and Varius,
+poets of recognized worth, and their friend Plotius Tucca, third of the
+whitest souls of earth, introduced him to the attention of Maecenas, and
+that the discriminating lover of excellence became his patron and made
+him known to Augustus, are evidences of the appeal of which he was
+capable both as poet and man. In the many names of worthy and
+distinguished men of letters and affairs to whom he addresses the
+individual poems, and with whom he must therefore have been on terms of
+mutual respect, is seen a further proof. Even Virgil contains passages
+disclosing a more than ordinary familiarity with Horace's work, and men
+like Ovid and Propertius, of whose personal relations with Horace
+nothing is known, not only knew but absorbed his poems.
+
+If still further evidence of Horace's worth is required, it may be seen
+in his being invited to commemorate the exploits of Drusus and Tiberius,
+the royal stepsons, against the hordes of the North, and the greatness
+of Augustus himself, ever-present help of Italy, and imperial Rome; and
+in the Emperor's expression of disappointment, sometime before the
+second book of _Epistles_ was published, that he had been mentioned in
+none of the "Talks." And, finally, if there remained in the minds of his
+generation any shadow of doubt as to the esteem in which he was held by
+the foremost men in the State, who were in most cases men of letters as
+well as patrons of letters, it was dispelled when, in the year 17,
+Horace was chosen to write the _Secular Hymn_, for use in the greatest
+religious and patriotic festival of the times.
+
+These facts receive greater significance from an appreciation of the
+poet's sincerity and independence. He will restore to Maecenas his
+gifts, if their possession is to mean a curb upon the freedom of living
+his nature calls for. He declines a secretaryship to the Emperor
+himself, and without offense to his imperial friend, who bids him be
+free of his house as if it were his own.
+
+But Horace must submit also to the more impartial judgment of time. Of
+the two innovations which gave him relief against the general
+background, one was the amplification of the crude but vigorous satire
+of Lucilius into a more perfect literary character, and the other was
+the persuasion of the Greek lyric forms into Roman service. Both
+examples had their important effects within the hundred years that
+followed on Horace's death.
+
+The satire and epistle, which Horace hardly distinguished, giving to
+both the name of _Sermo_, or "Talk," was the easier to imitate. Persius,
+dying in the year 62, at the age of twenty-eight, was steeped in Horace,
+but lacked the gentle spirit, the genial humor, and the suavity of
+expression that make Horatian satire a delight. In Juvenal, writing
+under Trajan and Hadrian, the tendency of satire toward consistent
+aggressiveness which is present in Horace and further advanced in
+Persius, has reached its goal. With Juvenal, satire is a matter of the
+lash, of vicious cut and thrust. Juvenal may tell the truth, but the
+smiling face of Horatian satire has disappeared. With him the line of
+Roman satire is extinct, but the nature of satire for all time to come
+is fixed. Juvenal, employing the form of Horace and substituting for his
+content of mellow contentment and good humor the bitterness of an
+outraged moral sense, is the last Roman and the first modern satirist.
+
+The _Odes_ found more to imitate them, but none to rival. The most
+pronounced example of their influence is found in the choruses of the
+tragic poet Seneca, where form and substance alike are constantly
+reminiscent of Horace. Two comments on the _Odes_ from the second half
+of the first century are of even greater eloquence than Seneca's example
+as testimonials to the impression made by the Horatian lyric. Petronius,
+of Nero's time, speaks of the poet's _curiosa felicitas_, meaning the
+gift of arriving, by long and careful search, at the inevitable word or
+phrase. Quintilian, writing his treatise on Instruction, sums him up
+thus: "Of our lyric poets, Horace is about the only one worth reading;
+for he sometimes reaches real heights, and he is at the same time full
+of delightfulness and grace, and both in variety of imagery and in words
+is most happily daring." To these broad strokes the modern critic has
+added little except by way of elaboration.
+
+The _Life of Horace_, written by Suetonius, the secretary of Hadrian,
+contains evidence of another, and perhaps a stronger, character
+regarding the poet's power. We see that doubtful imitations are
+beginning to circulate. "I possess," says the imperial secretary, "some
+elegies attributed to his pen, and a letter in prose, supposed to be a
+recommendation of himself to Maecenas, but I think that both are
+spurious; for the elegies are commonplace, and the letter is, besides,
+obscure, which was by no means one of his faults."
+
+The history of Roman literature from the end of the first century after
+Christ is the story of the decline of inspiration, the decline of taste,
+the decline of language, the decline of intellectual interest. Beneath
+it all and through it all there is spreading, gradually and silently,
+the insidious decay that will surely crumble the constitution of the
+ancient world. Pagan letters are uncreative, and, with few exceptions,
+without imagination and dull. The literature of the new religion,
+beginning to push green shoots from the ruins of the times, is a
+mingling of old and new substance under forms that are always old.
+
+In the main, neither Christian nor pagan will be attracted by Horace.
+The Christian will see in his gracious resignation only the philosophy
+of despair, and in his light humors only careless indulgence in the
+vanities of this world and blindness to the eternal concerns of life.
+The pagan will not appreciate the delicacy of his art, and will find the
+abundance of his literary, mythological, historical, and geographical
+allusion, the compactness of his expression, and the maturity and depth
+of his intellect, a barrier calling for too much effort. Both will
+prefer Virgil--Virgil of "arms and the man," the story-teller, Virgil
+the lover of Italy, Virgil the glorifier of Roman deeds and destiny,
+Virgil the readily understood, Virgil who has already drawn aside, at
+least partly, the veil that hangs before the mystic other-world, Virgil
+the almost Christian prophet, with the almost Biblical language, Virgil
+the spiritual, Virgil the comforter.
+
+Horace will not be popular. He will remain the poet of the few who enjoy
+the process of thinking and recognize the charm of skillful expression.
+Tacitus and Juvenal esteem him, the Emperor Alexander Severus reads him
+in leisure hours, the long list of mediocrities representing the course
+of literary history demonstrate by their content that the education of
+men of letters in general includes a knowledge of him. The greatest of
+the late pagans,--Ausonius and Claudian at the end of the fourth
+century; Boëthius, philosopher-victim of Theodoric in the early sixth;
+Cassiodorus, the chronicler, imperial functionary in the same
+century,--disclose a familiarity whose foundations are to be looked for
+in love and enthusiasm rather than in mere cultivation. It may be safely
+assumed that, in general, appreciation of Horace was proportionate to
+greatness of soul and real love of literature.
+
+The same assumption may be made in the realm of Christian literature.
+Minucius Felix, calmly and logically arguing the case of Christianity
+against paganism, Tertullian the fiery preacher, Cyprian the enthusiast
+and martyr, Arnobius the rhetorical, contain no indications of
+familiarity with Horace, though this is not conclusive proof that they
+did not know and admire him; but Lactantius, the Christian Cicero,
+Jerome, the sympathetic, the sensitive, the intense, the irascible,
+Prudentius, the most original and the most vigorous of the Christian
+poets, and even Venantius Fortunatus, bishop and traveler in the late
+sixth century, and last of the Christian poets while Latin was still a
+native tongue, display a knowledge of Horace which argues also a love
+for him.
+
+The name of Venantius Fortunatus brings us to the very brink of the
+centuries called the Middle Age. If there are those who object to the
+name of Dark Age as doing injustice to the life of the times, they must
+at any rate agree that for Horace it was really dark. That his light was
+not totally lost in the shadows which enveloped the art of letters was
+due to one aspect of his immortality which we must notice before leaving
+the era of ancient Rome.
+
+Thus far, in accounting for Horace's continued fame, we have considered
+only his appeal to the individual intellect and taste, the admiration
+which represented an interest spontaneous and sincere. There was another
+phase of his fame which expressed an interest less inspired, though its
+first cause was none the less in the enthusiasm of the elect. It was the
+phase foreseen by Horace himself, and its first manifestations had
+probably appeared in his own life-time. It was the immortality of the
+text-book and the commentary.
+
+Quintilian's estimate of Horace in the _Institutes_ is an indication
+that the poet was already a subject of school instruction in the latter
+half of the first century. Juvenal, in the first quarter of the next,
+gives us a chiaroscuro glimpse into a Roman school-interior where little
+boys are sitting at their desks in early morning, each with odorous lamp
+shining upon school editions of Horace and Virgil smudged and discolored
+by soot from the wicks,
+
+        _totidem olfecisse lucernas_,
+  Q_uot stabant pueri, cum totus decolor esset_
+  F_laccus et haereret nigro fuligo Maroni_.
+(VII. 225 ff.)
+
+The use of the poet in the schools meant that lovers of learning as well
+as lovers of literary art were occupying themselves with Horace. The
+first critical edition of his works, by Marcus Valerius Probus, appeared
+as early as the time of Nero. A native of Berytus, the modern Beirut,
+disappointed in the military career, he turned to the collection, study,
+and critical editing of Latin authors, among whom, besides Horace, were
+Virgil, Lucretius, Persius, and Terence. His method, comprising careful
+comparison of manuscripts, emendations, and punctuation, with
+annotations explanatory and aesthetic, all prefaced by the author's
+biography, won him the reputation of the most erudite of Roman men of
+letters. It is in no small measure due to him that the tradition of
+Horace's text is so comparatively good.
+
+There were many other critics and interpreters of Horace. Of many of
+them, the names as well as the works have been lost. Modestus and
+Claranus, perhaps not long after Probus, are two names that survive.
+Suetonius, as we have seen, wrote the poet's _Life_, though it contains
+almost nothing not found in the works of Horace themselves. In the time
+of Hadrian appeared also the edition of Quintus Terentius Scaurus, in
+ten books, of which the _Odes_ and _Epodes_ made five, and the _Satires_
+and _Epistles_ five, the _Ars Poetica_ being set apart as a book in
+itself. At the end of the second or the beginning of the third century,
+Helenius Acro wrote commentaries on certain plays of Terence and on
+Horace, giving special attention to the persons appearing in the poet's
+pages, a favorite subject on which a considerable body of writing sprang
+up. Not long afterward appeared the commentary of Pomponius Porphyrio,
+originally published with the text of Horace, but later separately. In
+spite of modifications wrought in the course of time, only Porphyrio's,
+of all the commentaries of the first three hundred years, has preserved
+an approximation to its original character and quantity. Acro's has been
+overlaid by other commentators until the identity of his work is lost.
+The purpose of Porphyrio was to bring poetic beauty into relief by
+clarifying construction and sense, rather than to engage in learned
+exposition of the subject matter.
+
+Finally, in the year 527, the consul Vettius Agorius Basilius Mavortius,
+with the collaboration of one Felix, revised the text of at least the
+_Odes_ and _Epodes_, and perhaps also of the _Satires_ and _Epistles_.
+That there were many other editions intervening between Porphyrio's and
+his, there can be little doubt.
+
+This review of scant and scattered, but consistent, evidence is proof
+enough of Horace's hold upon the intellectual and literary leaders of
+the ancient Roman world. For the individual pagan who clung to the old
+order, he represented more acceptably than anyone else, or anyone else
+but Virgil, the ideal of a glorious past, and afforded consequently
+something of inspiration for the decaying present. Upon men who, whether
+pagan or Christian, were possessed by literary enthusiasms, and upon men
+who delighted in contemplation of the human kind, he cast the spell of
+art and humanity. Those who caught the fire directly may indeed have
+been few, but they were men of parts whose fire was communicated.
+
+As for the influence exercised by Horace upon Roman society at large
+through generation after generation of schoolboys as the centuries
+passed, its depth and breadth cannot be measured. It may be partly
+appreciated, however, by those who realize from their own experience
+both as pupils and teachers the effect upon growing and impressionable
+minds of a literature rich in morality and patriotism, and who reflect
+upon the greater amplitude of literary instruction among the ancients,
+by whom a Homer, a Virgil, or a Horace was made the vehicle of
+discipline so broad and varied as to be an education in itself.
+
+
+3. HORACE AND THE MIDDLE AGE
+
+There is no such thing as a line marking definitely the time when
+ancient Rome ceased to be itself and became the Rome of the Middle Age.
+If there were such a line, we should probably have crossed it already,
+whether in recording the last real Roman setting of the Horatian house
+in order by Mavortius in 527, or in referring to Venantius Fortunatus,
+the last of the Latin Christian poets. The usual date marking the end of
+the Western Empire, 476, is only the convenient sign for the culmination
+of the movement long since begun in the interferences of an army
+composed more and more of a non-Italian, Northern soldiery, and ending
+in a final mutiny or revolt which assumed the character of invasion and
+the permanent seizure of civil as well as military authority. The coming
+of Odoacer is the ultimate stage in the process of Roman and Italian
+exhaustion, the sign that life is not longer possible except through
+infusion of northern blood.
+
+The military and political change itself was only exterior, the outward
+demonstration of deep-seated maladies. The too-successful
+bureaucratization of Augustus and such of his successors as were really
+able and virtuous, the development of authority into tyranny by such as
+were neither able nor virtuous, but mad and wilful, had removed from
+Roman citizenship the responsibility which in the olden time had made it
+strong; and the increase of taxes, assessments, and compulsory honors
+involving personal contribution, had substituted for responsibility and
+privilege a burden so heavy that under it the civic life of the Empire
+was crushed to extinction. In Italy, above all, the ancient seed was
+running out. Under the influence of economic and social movement, the
+old stock had died and disappeared, or changed beyond recognition. The
+old language, except in the mouths and from the pens of the few, was
+fast losing its identity. Uncertainty, indifference, stagnation,
+weariness of body, mind, and soul, leaden resignation and despair,
+forgetfulness of the glories of the past in art and even in heroism,
+were the inheritance of the last generations of the old order. Jerome
+felt barbarism closing in: _Romanus orbis ruit_, he says,--the Roman
+world is tumbling in ruins.
+
+In measure as the vitality of pagan Rome was sapped, into the inert and
+decaying mass there penetrated gradually the two new life-currents of a
+new religion and a new blood. The change they wrought from the first
+century to the descent of the Northerners was not sudden, nor was it
+rapid. Nor was it always a change that carried visible warrant of
+virtue. The mingling of external races in the army and in trade, the
+interference of a Northern soldiery in the affairs of the throne, the
+more peaceful but more intimate shuffling of the population through the
+social and economic emergence of the one-time nameless and poor, whether
+of native origin or foreign, may have contributed fresh blood to an
+anaemic society, but the result most apparent to the eye and most
+disturbing to the soul was the debasement of standards and the fears
+that naturally come with violent, sudden, or merely unfamiliar change.
+The new religion may have contributed new hope and erected new
+standards, but it also contributed exaggerations, contradictions, and
+new uncertainties. The life of logic began to be displaced by the life
+of feeling.
+
+The change and turmoil of the times that attended and followed the
+crumbling of the Roman world were favorable neither to the production of
+letters nor to the enjoyment of a literary heritage. Goth, Byzantine,
+Lombard, Frank, German, Saracen, and Norman made free of the soil of
+Italy. If men were not without leisure, they were without the leisure of
+peaceful and careful contemplation, and lacked the buoyant heart without
+which assimilation of art is hardly less possible than creation.
+Ignorance had descended upon the world, and gross darkness covered the
+people. The classical authors were solid, the meat of vigorous minds.
+Their language, never the facile language of the people and the
+partially disciplined, now became a resisting medium that was foreign to
+the general run of men. Their syntax was archaic and crabbed, their
+metres forgotten. Their substance, never grasped without effort, was now
+not only difficult, but became the abstruse matter of another people and
+another age. To all but the cultivated few, they were known for anything
+but what they really were. It was an age of Virgil the mysterious
+prophet of the coming of Christ, of Virgil the necromancer. Real
+knowledge withdrew to secret and secluded refuges.
+
+If the classical authors in general were beyond the powers and outside
+the affection of men, Horace was especially so. More intellectual than
+Virgil, and less emotional, in metrical forms for the most part lost to
+their knowledge and liking, the poet of the individual heart rather than
+of men in the national or racial mass, the poet strictly of this world
+and in no respect of the next, he almost vanished from the life of men.
+
+Yet the classics were not all lost, and not even Horace perished.
+Strange to say, and yet not really strange, the most potent active
+influence in the destruction of his appeal to men was also the most
+effective instrument of his preservation. Through the darkness and the
+storms of the nine hundred years following the fall of the Western
+Empire, Horace was sheltered under the wing of the Church.
+
+It was a natural exaggeration for Christianity to begin by teaching
+absolute separation from the world, and to declare, through the mouths
+of such as Tertullian, that the blood of Christ alone sufficed and
+nothing more was needed, and that literature and all the other arts of
+paganism, together with its manners, were so inseparable from its
+religion that every part was anathema. It was natural that Horace, more
+than Virgil, should be the object of its neglect, and even of its active
+enmity. Horace is the most completely pagan of poets whose works are of
+spiritual import. The only immortality of which he takes account is the
+immortality of fame. Aside from this, the end of man is dust and shadow.
+
+It is true that in the depth of his heart he does not feel with
+Democritus, Epicurus, and Lucretius that "Dust thou art, to dust
+returnest" is spoken of soul as well as body. The old Roman instinct for
+ancestor-communion is too strong in him for that. But he acquiesces in
+their doctrine in so far as shadowy existence in another world inspires
+in him no pleasing hope. He displays no trace of the faith in the
+supernatural which accompanies the Christian hope of happy immortality.
+He contains none of the expressions of yearning for communion with the
+divine, of self-abasement in the presence of the eternal, which belong
+to Christian poetry. The flights of his muse rarely take him into the
+realm of a divine love and providence. His aspirations are for things
+achievable in this world: for faithfulness in friendship, for enduring
+courage, for irreproachable patriotism,--in short, for ideal _human_
+relations.
+
+Horace's idealism is not Christian idealism, and is only in a limited
+way even spiritual idealism. When he prays, it is likely to be for
+others rather than himself, and for temporal blessings only: for the
+success of Augustus at home and in the field, for prolongation of
+Maecenas' life and happiness, for the weal of the State, for the
+nurslings of his little flock, for health of body and contentment of
+heart. His dwelling is not in the secret place of the Most High.
+Philosophy, not religion, is his refuge and his fortress. In philosophy,
+not in God, will he trust.
+
+In a word, Horace is logical, self-reliant, and self-sufficient. He sees
+no happy future after this life, is conscious of no providence watching
+over him, is involved in no obligation to the beings of an eternal
+world. He looks this world and the next, gods and men, directly in the
+face, and expects other men to do the same. Life and its duties are for
+him clear-cut. He is no propounder of problems, no searcher after hidden
+purposes. He lacks almost absolutely the feverish aspiration and unrest
+which characterize Christian and other humanitarian modes of thought and
+sentiment, and whose manifestation is one of the best known features of
+recent modern times, as it was of the earliest Christian experience.
+
+But Christianity was a religion of men, and therefore human. If its
+exaggerations were natural, its reservations and its reactions were also
+natural. There were men whose admiration continued to be roused and
+whose affections continued to be touched by Virgil and Horace. There
+were men whose reason as well as whose instinct impelled them to employ
+the classic authors and the classic arts in the service of the new
+religion. Christianity possessed no distinct and separate media of
+expression and no separate body of knowledge which could bear fruit as
+matter of instruction. Pagan art and literature were indispensable
+whether for the study of history or of mere humanity. Christianity was
+therefore compelled to employ the old forms of art, which involved the
+use of the old instrumentalities of literary education. When, finally,
+paganism had fallen under its repeated assaults, what had been forced
+use became a matter of choice, and the classics were taken under the
+Church's protection and marked with her approval.
+
+The data regarding Horace in the Middle Age are few, but they are clear.
+We need not examine them all in order to draw conclusions.
+
+The monastic idea, of eastern origin and given currency in the West by
+Jerome, was first reduced to systematic practice by Benedict, who
+created the first Rule at Monte Cassino about the time of the Mavortian
+recension of Horace, in 527. New moral strength issued from the
+cloisters now rapidly established. Cassiodorus, especially active in
+promoting the spiritual phase of monkish retreat, made the intellectual
+life also his concern. Monte Cassino, between Naples and Rome, and
+Bobbio, in the northern part of the peninsula, were the great Italian
+centers. The Benedictine influence spread to Ireland, which before the
+end of the sixth century became a stronghold of the movement and an
+inspiration to England, Germany, France, and even Italy, where Bobbio
+itself was founded by Columban and his companions. St. Gall in
+Switzerland, Fulda at Hersfeld in Hesse-Nassau, Corvey in Saxony, Iona
+in Scotland, Tours in France, Reichenau on Lake Constance, were all
+active centers of religion and learning within two hundred years from
+Benedict's death.
+
+The monasteries not only afforded the spiritual enthusiast the
+opportunity of separation from the world of temptation and storm, but
+were equally inviting to men devoted first of all to the intellectual
+life. The scholar and the educator found within their walls not only
+peaceful escape from the harshnesses of political change and military
+broil, but the opportunity to labor usefully and unmolested in the
+occupation that pleased them most. The cloister became a Christian
+institute. The example of Cassiodorus was followed two hundred years
+later on a larger scale by Charlemagne. Schools were founded both in
+cloister and at court, scholars summoned, manuscripts copied, the life
+of pagan antiquity studied, and the bond between the languages and
+cultures of present and past made firmer. The schools of the old régime
+had fallen away in the sixth century, when Northern rule had closed the
+civic career to natives of Italy. A great advance in the intellectual
+life now laid the foundations of all cultural effort in the Middle Age.
+
+No small part of this advance was due to the preservation of manuscripts
+by copying. In this activity France was first, so far as Horace was
+concerned. The copies by the scribes of Charlemagne went back to
+Mavortius and Porphyrio, the originals of which were probably discovered
+at Bobbio by his scholars. Of the two hundred and fifty manuscripts in
+existence, the greater part are French in origin, the oldest being the
+Bernensis, of the ninth or tenth century, from near Orléans. Germany was
+a worthy second to France. The finds in monastery libraries of both
+countries in the humanist movement of the fifteenth century were
+especially rich. Italy, on the contrary, preserved few manuscripts of
+her poet, and none that is really ancient. Italy began the great
+monastery movement, but disorder and change were against the diffusion
+of culture. Charlemagne's efforts probably had little to do with Italy.
+The Church seems to have had no care to preserve the ancient culture of
+her native land.
+
+What this meant in terms of actual acquaintance with the poet would not
+be clear without evidence of other kinds. By the end of the sixth
+century, knowledge of Horace was already vague. He was not read in
+Africa, Spain, or Gaul. Read in Italy up to Charlemagne's time, a
+hundred years later his works are not to be found in the catalogue of
+Bobbio, one of the greatest seats of learning. What the general attitude
+of the Church's leadership toward him was, may be conjectured from the
+declaration of Gregory the Great against all beauty in writing. Its
+general capacity for Horace may perhaps be surmised also from the
+confession of the Pope's contemporary, Gregory of Tours, that he is
+unfamiliar with the ancient literary languages. The few readers of the
+late Empire had become fewer still. The difficult form and matter of the
+_Odes_, and their unadaptability to religious and moral use,
+disqualified them for the approval of all but the individual scholar or
+literary enthusiast. The moralities of the _Epistles_ were more
+tractable, and formed the largest contribution to the _Florilegia_, or
+flower-collections, that were circulated by themselves. Horace did not
+contain the facile and stimulating tales of Ovid, he was not a Virgil
+the story-teller and almost Christian, his lines did not exercise a
+strong appeal to the ear, he was not an example of the rhetorical, like
+Lucan, his satire did not lend itself, like a Juvenal's, to universal
+condemnation of paganism.
+
+In the eighth century, Columban knows Horace, the Venerable Bede cites
+him four times, and Alcuin is called a Flaccus. The York catalogue of
+Alcuin shows the presence of most of the classic authors. Paul the
+Deacon, who wrote a poem in the Sapphics he learned from Horace, is
+declared, he says, to be like Homer, Flaccus, and Virgil, but
+ungratefully and ungraciously adds, "men like that I'll compare with
+dogs." In Spain, Saint Isidore of Seville knew Horace in the seventh
+century, though the Rule of Isidore, as of some other monastic
+legislators, forbade the use of pagan authors without special
+permission; yet the coming of the Arabs in the eighth century, and the
+struggle between the Gothic, Christian, and Islamic civilizations
+resulted, for the next six or seven centuries, in what seems total
+oblivion of the poet.
+
+In the ninth and tenth centuries, under the impulse of the Carolingian
+favor, France, in which there is heretofore no evidence of Horace's
+presence from the end of Roman times, becomes the greatest center of
+manuscript activity, the Bernensis and six Parisian exemplars dating
+from this period. Yet the indexes of St. Gall, Reichenau, and Bobbio
+contain the name of no work of Horace, and only Nevers and Loesch
+contained his complete works. The _Ecbasis Captivi_, an animal-epic
+appearing at Toul in 940, has one fifth of its verses formed out of
+Horace in the manner of the _cento_, or patchwork. At about the same
+time, the famous Hrosvitha of Gandersheim writes her six Christian
+dramas patterned after Terence, and in them uses Horace. Mention by
+Walter of Speyer, and interest shown by the active monastery on the
+Tegernsee, are of the same period. The tenth century is sometimes spoken
+of as the Latin Renaissance under the Ottos, the first of whom, called
+the Great, crowned Emperor at Rome in 962, welcomed scholars at his
+court and made every effort to promote learning.
+
+The momentum of intellectual interest is not lost in the eleventh
+century. Paris becomes its most ardent center, with Reims, Orléans, and
+Fleury also of note. The _Codex Parisinus_ belongs to this period.
+German activity, too, is at its height, especially in the education of
+boys for the church. Italy affords one catalogue mention, of a Horace
+copied under Desiderius. Peter Damian was its man of greatest learning,
+but the times were intellectually stagnant. The popes were occupied by
+rivalry with the emperors. It was the century of Gregory the Seventh and
+Canossa.
+
+In the twelfth century came the struggle of the Hohenstaufen with the
+Italian cities, and the disorder and turmoil of the rise of the communes
+and the division of Italy. One catalogue shows a Horace, and one
+manuscript dates from the time. England and France are united by the
+Norman Conquest in much the same way as Germany and France had been
+associated in the kingdom of Charlemagne. It is the century of Roger
+Bacon. Especially in Germany, England, and France, it is the age of the
+Crusades and the knightly orders. It is an age of the spread of culture
+among the common people. In France, it is the age of the monastery of
+Cluny, and the age of Abelard. Education and travel became the mode. In
+general, acquaintance with Horace among cultivated men may now be taken
+for granted. The _Epistles_ and _Satires_ find more favor than the
+_Odes_. Five hundred and twenty citations of the former and
+seventy-seven of the latter have been collected for the twelfth century.
+
+The thirteenth century marks a decline in the intellectual life. The
+Crusades exhaust the energies of the time, and detract from its literary
+interest. The German rulers and the Italian ecclesiasts are absorbed in
+the struggle for supremacy between pope and emperor. Scholasticism
+overshadows humanism. The humanistic tradition of Charlemagne has died
+out, and the intellectual ideal is represented by Vincent of Beauvais
+and the _Speculum Historiale_. There is no mention of Horace in the
+catalogues of Italy. The manuscripts of France are careless, the
+comments and glosses poor. The decline will continue until arrested by
+the Renaissance.
+
+It must not be forgotten that among all these scattered and flickering
+attentions to Horace there was the constant nucleus of instruction in
+the school. That he was used for this purpose first in the Carolingian
+cloister-schools, and later in the secular schools which grew to
+independent existence as a result of the vigorous spread of educational
+spirit, cannot be doubtful. Gerbert, dying at the beginning of the
+eleventh century as Pope Sylvester II, is known to have interpreted
+Horace in his school. This is the oldest direct evidence of the
+scholastic use of Horace, but other proofs are to be seen in the
+commentaries of the medieval period, all of which are of a kind suitable
+for school use, and in the marginal annotations, often in the native
+tongue.
+
+The decline of humane studies in the thirteenth and fourteenth centuries
+meant also the decline of interest in Horace, who had always been above
+all the poet of the cultivated few. At the beginning of the thirteenth
+century in Italy, nowhere but at Bologna and Rome was Latin taught
+except as the elementary instruction necessary to the study of civil and
+canonical law. Gaufried of Vinesaux, coming from England to Italy, and
+composing an _Ars Dictaminis_ and a _Poietria Nova_ containing Horatian
+reminiscences, is one of two or three significant examples of Latin
+teachers who concerned themselves with literature as well as language.
+Coluccio Salutati, wanting to buy a copy of Horace in 1370, is
+apparently unable to find it. The decline of interest in Horace will be
+arrested only by the Rebirth of Learning.
+
+The intellectual movement back to the classical authors and the
+classical civilizations is well called the Rebirth. The brilliance of
+the new era as compared with the thousand years that lead to it from the
+most high and palmiest days of Rome is such as to dim almost to darkness
+the brightest days of medieval culture. The new life into which Horace
+is now to enter will be so spirited and full that the old life, though
+by no means devoid of active influence in society at large and in the
+individual soul, will seem indeed like a long death and a waiting for
+the resurrection into a new heaven and a new earth.
+
+
+4. HORACE AND MODERN TIMES
+
+THE REBIRTH OF HORACE
+
+The national character of the _Aeneid_ gave Virgil a greater appeal than
+Horace in ancient Roman times. In the Middle Age, his qualities as
+story-teller and poet of the compassionate heart, together with his fame
+as necromancer and prophet, made still more pronounced the favor in
+which he was held. The ignorance of the earlier centuries of the period
+could not appreciate Horace the logical, the intellectual, the
+difficult, while the schematized religion and knowledge of the later
+were not attracted by Horace the philosophical and individual.
+
+With the Renaissance and its quickening of intellectual life in general,
+and in particular the value it set upon personality and individualism,
+the positions of the poets were reversed. For four hundred years now it
+can hardly be denied that Horace rather than Virgil has been the
+representative Latin poet of humanism.
+
+This is not to say that Horace is greater than Virgil, or that he is as
+great. Virgil is still the poet of stately movement and golden
+narrative, the poet of the grand style. Owing to the greater facility
+with which he may be read, he is also still the poet of the young and of
+greater numbers. With the coming of the new era he did not lose in the
+esteem that is based upon the appreciation of literary art, but rather
+gained.
+
+It will be better to say that Horace finally came more fully into his
+own. This was not because he changed. He did not change. The times
+changed. The barriers of intellectual sloth and artificiality fell away,
+and men became accessible to him. Virgil lost nothing of his old-time
+appeal to the fancy and to the ear, but Horace's virtues also were
+discovered: his distinction in word and phrase, his understanding of the
+human heart. Virgil lost nothing of his charm for youth and age, but
+Horace was discovered as the poet of the riper and more thoughtful mind.
+Virgil remained the admired, but Horace became the friend. Virgil
+remained the guide, but Horace became the companion. "Virgil," says
+Oliver Wendell Holmes, "has been the object of an adoration amounting
+almost to worship, but he will often be found on the shelf, while Horace
+lies on the student's table, next his hand."
+
+The nature and extent of Horace's influence upon modern letters and life
+will be best brought into relief by a brief historical review. It is not
+necessary to this purpose, nor would it be possible, within ordinary
+limits, to enter into a detailed account. It will be appropriate to
+begin with Italy.
+
+
+_i_. IN ITALY
+
+Horace did not spring immediately into prominence with the coming of the
+Renaissance, whether elsewhere or in Italy. As might be expected, the
+essentially epic and medieval Dante found inspiration in Virgil rather
+than in Horace, though the _Ars Poetica_ was known to him and quoted
+more than once as authority on style. "This is what our master Horace
+teaches," runs one of the passages, "when at the beginning of _Poetry_
+he says, 'Choose a subject, etc.'" The imperfect idea of Horace formed
+in Dante's mind is indicated by the one verse in the _Divina Commedia_
+which refers to him:
+
+  L' altro è Orazio satiro che viene,--
+
+  T_he other coming is Horace the satirist_.
+
+With Petrarch, the first great figure to emerge from the obscure vistas
+of medievalism, the case was different. The first modern who really
+understood the classics understood Horace also, and did him greater
+justice than fell to his lot again for many generations. The copy of
+Horace's works which he acquired on November 28, 1347, remained by him
+until on the 18th of July in 1374 the venerable poet and scholar was
+found dead at the age of seventy among his books. Fond as he was of
+Virgil, Cicero, and Seneca, he had an intimate and affectionate
+knowledge of Horace, to whom there are references in all his works, and
+from whom he enriched his philosophy of life. Even his greatest and most
+original creation, the _Canzoniere_, is not without marks of Horace, and
+their fewness here, as well as their character, are a sign that
+Petrarch's familiarity was not of the artificial sort, but based on real
+assimilation of the poet. His letter to Horace begins:
+
+    Salve o dei lirici modi sovrano,
+    Salve o degl' Itali gloria ed onor,--
+
+  H_ail! Sovereign of the lyric measure_,
+  H_ail! Italy's great pride and treasure_;
+
+and, after recounting the qualities of the poet, and acknowledging him
+as guide, teacher, and lord, concludes:
+
+    Tanto è l' amor che a te m'avvince; tanto
+      È degli affetti miei donno il tuo canto--
+
+  S_o great the love that bindeth me to thee_;
+  S_o ruleth in my heart thy minstrelsy_.
+
+But Petrarch is a torch-bearer so far in advance of his successors that
+the illumination almost dies out again before they arrive. It was not
+until well into the fifteenth century that the long and numerous line of
+imitators, translators, adapters, parodists, commentators, editors, and
+publishers began, which has continued to the present day. The
+modern-Latin poets in all countries were the first, but their efforts
+soon gave place to attempts in the vernacular tongues. The German Eduard
+Stemplinger, in his _Life of the Horatian Lyric Since the Renaissance_,
+published in 1906, knows 90 English renderings of the entire _Odes_ of
+Horace, 70 German, 100 French, and 48 Italian. Some are in prose, some
+even in dialect. The poet of Venusia is made a Burgundian, a Berliner,
+and even a Platt-deutsch. All of these are attempts to transfuse Horace
+into the veins of modern life, and are significant of their authors'
+conviction as to the vitalizing power of the ancient poet. No author
+from among the classics has been so frequently translated as Horace.
+
+Petrarch, as we have seen, led the modern world by a century in the
+appreciation of Horace. It was in 1470, ninety-six years after the
+laureate's death, that Italy achieved the first printed edition of the
+poet, which was also the first in the world. This was followed in 1474
+by a printing of Acro's notes, grown by accretion since their origin in
+the third century into a much larger body of commentary. In 1476 was
+published the first Horace containing both text and notes, which were
+those of Acro and Porphyrio, and in 1482 appeared Landinus's notes, the
+first printed commentary on Horace by a modern humanist. Landinus was
+prefaced by a Latin poem of Politian's, who, with Lorenzo dei Medici,
+was a sort of arbiter in taste, and who produced in 1500 a Horace of his
+own. Mancinelli, who, like many other scholars of the time, gave public
+readings and interpretations of Horace and other classics, in 1492
+dedicated to the celebrated enthusiast Pomponius Laetus an edition of
+the _Odes_, _Epodes_, and _Secular Hymn_, in which he so successfully
+integrated the comments of Acro, Porphyrio, Landinus, and himself, that
+for the next hundred years it remained the most authoritative Horace. In
+Italy, between 1470 and 1500, appeared no fewer than 44 editions of the
+poet, while in France there were four and in Germany about ten. Venice
+alone published, from 1490 to 1500, thirteen editions containing text
+and commentary by "The Great Four," as they were called. The famous
+Aldine editions began to appear in 1501. Besides Venice, Florence, and
+Rome, Ferrara came early to be a brilliant center of Horatian study,
+Lionel d'Este and the Guarini preparing the way for the more
+distinguished, if less scholastic, discipleship of Ariosto and Tasso.
+Naples and the South displayed little activity.
+
+Roughly speaking, the later fifteenth century was the age of manuscript
+recovery, commentary, and publication; the sixteenth, the century of
+translation, imitation, and ambitious attempt to rival the ancients on
+their own ground; the seventeenth and eighteenth, the centuries of
+critical erudition, with many commentaries and versions and much
+discussion of the theory of translation; and the nineteenth, the century
+of scientific revision and reconstruction. In the last movement, Italy
+had comparatively small part. Among her translators during these
+centuries must be mentioned Ludovico Dolce, whose excellent rendering of
+the _Satires_ and _Epistles_ was a product of the early sixteenth;
+Scipione Ponsa, whose faithful _Ars Poetica_ in _ottava rima_ appeared
+in the first half of the seventeenth; the advocate Borgianelli, whose
+brilliant version of Horace entire belongs to the second half; and the
+Venetian Abriani, whose complete _Odes_ in the original meters, the
+first achievement of the kind, was a not unsuccessful performance which
+has taken its place among Horatian curiosities. Among literary critics
+are the names of Gravina, whose _Della Ragione Poetica_, full of sound
+scholarship and refreshing good sense, appeared in 1716 at Naples; Volpi
+of Padua, author of a treatise on Satire, in which the merits of
+Lucilius, Horace, Juvenal, and Persius were effectively discussed; and
+their followers, Algarotti the Venetian and Vannetti of Roveredo, in
+whom Horatian criticism reached its greatest altitude.
+
+If we look outside the field of scholastic endeavor and academic
+imitation, and attempt to discern the effect of Horace in actual
+literary creation, we are confronted by the difficulty of determining
+exactly where imitation and adaptation cease to be artificial, and reach
+the degree of individuality and independence which entitles them to the
+name of originality. If we are to include here such authors as are
+manifestly indebted to suggestion or inspiration from Horace, and yet
+are quite as manifestly modern and Italian, we may note at least the
+names of Petrarch, already mentioned; the famous Cardinal Bembo, whose
+ideal, to write "thoughtfully and little," was a reflection of Horace;
+Ariosto, whose satires are in the Horatian spirit, and who, complaining
+to his brother Alessandro of the attitude of his patron, Cardinal
+Hippolyto d'Este, recites the story of the fox and the weasel, changing
+them to donkey and rat; Chiabrera of Savona, who wrote satire
+honeycombed with Horatian allusion and permeated by Horatian spirit, and
+who, in Leopardi's opinion, had he lived in a different age, would have
+been a second Horace; Testi of Ferrara, whom Ariosto's enthusiasm for
+Horace so kindled that he gravitated from the modern spirit to the
+classical; Parini of Milan, whose poem, _Alla Musa_, is Horatian in
+spirit and phrase; Leopardi, who composed a parody on the _Ars Poetica_;
+Prati, who transmuted _Epode II_ into the _Song of Hygieia_; and
+Carducci, whose use of Horatian meters, somewhat strained, is due to the
+conscious desire of making Italy's past greatness serve the present. The
+names of Bernardo Tasso and Torquato Tasso might be added.
+
+It is not impossible, also, that the musical debt of the world to Italy
+is in a measure owing to Horace. Whether the music which accompanied the
+_Odes_ as they emerged from the Middle Age was only the invention of
+monks, or the survival of actual Horatian music from antiquity, is a
+question hardly to be answered; but the setting of Horace to music in
+the Renaissance was not without an influence. In 1507, Tritonius
+composed four-voice parts for twenty-two different meters of Horace and
+other poets. In 1526, Michael engaged in the same effort, and in 1534
+Senfl developed the youthful compositions of Tritonius. All this was for
+school purposes. With the beginnings of Italian opera, these
+compositions, in which the music was without measure and held strictly
+to the service of poetry, came to an end. It is not unreasonable to
+suspect that in these early attempts at the union of ancient verse and
+music there exist the beginnings of the musical drama.
+
+
+_ii_. IN FRANCE
+
+France, where the great majority of Horatian manuscripts were preserved,
+was the first to produce a translation of the _Odes_. Grandichan in
+1541, and Pelletier in 1545, published translations of the _Ars Poetica_
+which had important consequences. The famous Pleiad, whose most
+brilliant star, Pierre de Ronsard, was king of poetry for more than a
+score of years, were enthusiastic believers in the imitation of the
+classics as a means for the improvement of letters in France. Du Bellay,
+the second in magnitude, published in 1550 his _Deffence et illustration
+de la langue françoyse_, a manifesto of the Pleiad full of quotations
+from the _Ars Poetica_ refuting a similar work of Sibilet published in
+1548. Ronsard himself is said to have been the first to use the word
+"ode" for Horace's lyrics. The meeting of the two, in 1547, is regarded
+as the beginning of the French school of Renaissance poetry. Horace thus
+became at the beginning an influence of the first magnitude in the
+actual life of modern French letters. In 1579 appeared Mondot's complete
+translation. The versions of Dacier and Sanadon, in prose, in the
+earlier eighteenth century, were an innovation provoking spirited
+opposition in Italy. The line of translators, imitators, and enthusiasts
+in France is as numerous as that of other countries. The list of great
+authors inspired by Horace includes such names as Montaigne, "The French
+Horace," Malherbe, Regnier, Boileau, La Fontaine, Corneille, Racine,
+Molière, Voltaire, Jean Baptiste Rousseau, Le Brun, André Chénier, De
+Musset.
+
+
+_iii_. IN GERMANY
+
+In Germany, the Renaissance movement had its pronounced beginning at
+Heidelberg. In that city began also the active study of Horace, in the
+lectures on Horace in 1456. The _Epistles_ were first printed in 1482 at
+Leipzig, the _Epodes_ in 1488, and in 1492 appeared the first complete
+Horace. Up to 1500, about ten editions had been published, only those of
+1492 and 1498 being Horace entire, and none of them with commentary
+except that of 1498, which had a few notes and metrical signs to
+indicate the structure of the verse. The first German to translate a
+poem of Horace was Johann Fischart, 1550-90, who rendered the second
+_Epode_ in 145 rhymed couplets. The famous Silesian, Opitz, "father of
+German poetry," and his followers, were to Germany what the Pleiad were
+to France. His work on poetry, 1624, was grounded in Horace, and was
+long the canon. Bucholz, in 1639, produced the first translation of an
+entire book of the _Odes_ in German. Weckherlin, 1548-1653, translated
+three _Odes_, Gottsched of Leipzig, 1700-66, and Breitinge of Zurich,
+confess Horace as master of the art of poetry, and their cities become
+the centers of many translations. Günther, 1695-1728, the most gifted
+lyric poet of his race before Klopstock, made Horace his companion and
+confidant of leisure hours. Hagedorn, 1708-54, forms his philosophy from
+Horace,--"my friend, my teacher, my companion." Of Ramler, for
+thirty-five years dictator of the Berlin literary world, who translated
+and published some of the _Odes_ in 1769 and was called the German
+Horace, Lessing said that no sovereign had ever been so beautifully
+addressed as was Frederick the Great in his imitation of the Maecenas
+ode. The epoch-making Klopstock, 1724-1803, quotes, translates, and
+imitates Horace, and uses Horatian subjects. Heinse reads him and writes
+of him enthusiastically, and Platen, 1796-1835, is so full of Homer and
+Horace that he can do nothing of his own. Lessing and Herder are devoted
+Horatians, though Herder thinks that Lessing and Winckelmann are too
+unreserved in their enthusiasm for the imitation of classical letters.
+Goethe praises Horace for lyric charm and for understanding of art and
+life, and studies his meters while composing the _Elegies_. Nietzsche's
+letters abound in quotation and phrase. Even the Church in Germany shows
+the impress of Horace in some of her greatest hymns, which are in
+Alcaics and Sapphics of Horatian origin. To speak of the German editors,
+commentators, and critics of the nineteenth century would be almost to
+review the history of Horace in modern school and university; such has
+been the ardor of the German soul and the industry of the German mind.
+
+
+_iv_. IN SPAIN
+
+A glance at the use of Horace in Spain will afford not the least
+edifying of modern examples. The inventories of Spanish libraries in the
+Middle Age rarely contain the name of Horace, or the names of his lyric
+brethren, Catullus, Tibullus, and Propertius. Virgil, Lucan, Martial,
+Seneca, and Pliny are much more frequent. It was not until the fifteenth
+century that reminiscences of the style and ideas of Horace began to
+appear in quantity. Imitation rather than translation was the vehicle of
+Spanish enthusiasm. The fountain of Horatianism in Spain was the
+imitation of _Epode II_, _Beatus Ille_, by the Marquis de Santillana,
+one of Castile's two first sonneteers, in the first half of the
+fifteenth century. Garcilaso also produced many imitations of the
+_Odes_. The Horatian lyric seemed especially congenial to the Spanish
+spirit and language. Fray Luís de León, of Salamanca, the first real
+Spanish poet, and the most inspired of all the Spanish lovers of Horace,
+was an example of the poet translating the poet where both were great
+men. He not only brought back to life once more "that marvelous
+sobriety, that rapidity of idea and conciseness of phrase, that
+terseness and brilliance, that sovereign calm and serenity in the spirit
+of the artist," which characterized the ancient poet, but added to the
+Horatian lyre the new string of Christian mysticism, and thus wedded the
+ancient and the modern. "Luís de León is our great Horatian poet," says
+Menéndez y Pelayo. Lope de Vega wrote an _Ode to Liberty_, and was
+influenced by the _Epistles_. The _Flores de Poetas ilustres de España_,
+arranged by Pedro Espinosa and published in 1605 at Valladolid, included
+translations of eighteen odes. Hardly a lyric poet of the eighteenth
+century failed to turn some part of Horace into Spanish. Salamanca
+perfected the ode, Seville the epistle, Aragon the satire. Mendoza in
+his nine _Epistles_ shows his debt to Horace. In 1592, Luís de Zapata
+published at Lisbon a not very successful verse translation of the _Ars
+Poetica_. In 1616, Francisco de Cascales of Murcia published _Fablas
+Poeticas_, containing in dialogue the substance of the same composition,
+which had been translated by Espinel, 1551-1624, and which was
+translated again in 1684, twice in 1777, and in 1827. Seville founded a
+Horatian Academy. The greatest of the Spanish translators of Horace
+entire was Javier de Burgos, whose edition of four volumes, 1819-1844,
+is called by Menéndez y Pelayo the only readable complete translation of
+Horace, "one of the most precious and enviable jewels of our modern
+literature," and "perhaps the best of all Horaces in the neo-Latin
+tongues." The nearest rival of Burgos was Martinez de la Rosa. The
+greatest Spanish scholar and critic of Horace is Menéndez y Pelayo,
+editor of the _Odes_, 1882, and author of _Horacio en España_, 1885.
+
+In the index of _Horacio en España_ are to be found the names of 165
+Castilian translators of the poet, 50 Portuguese, 10 Catalan, 2
+Asturian, and 1 Galician. There appear the names of 29 commentators. Of
+complete translations, there are 6 Castilian and 1 Portuguese; of
+complete translations of the _Odes_, 6 Castilian and 7 Portuguese; of
+the _Satires_, 1 Castilian and 2 Portuguese; of the _Epistles_, 1
+Castilian and 1 Portuguese; of the _Ars Poetica_, 35 Castilian, 11
+Portuguese, and 1 Catalan. The sixteenth century translators were
+distinguished in general by facility and grace, the freshness and
+abandon of youth, and a considerable degree of freedom, or even license.
+Those of the eighteenth show a gain in accuracy and a loss in spirit.
+
+
+_v_. IN ENGLAND
+
+The appeal of Horace in England and English-speaking countries has been
+as fruitful as elsewhere in scholarship, with the possible exception of
+Germany. In its effect upon the actual fibre of literature and life, it
+has been more fruitful.
+
+A review of Horatian study in England would include the names of Talbot
+and Baxter, but, above all, of the incomparably brilliant Richard
+Bentley, despite his excesses, themselves due to his very genius, the
+most famous and most stimulating critic and commentator of Horace the
+world has seen. His edition, appearing in 1711, provoked in 1717 the
+anti-Bentleian rejoinder of Richard Johnson, and in 1721 the more
+ambitious but equally unsuccessful attempt to discredit him by the
+Scotch Alexander Cunningham. The primacy in the study of Horace which
+Bentley conferred upon England had been enjoyed previously by the Low
+Countries and France, to which it had passed from Italy in the second
+half of the sixteenth century. The immediate sign of this transfer of
+the center to northern lands was the publication in 1561 at Lyons of the
+edition containing the text revision and critical notes of Lambinus and
+the commentary of the famous Cruquius of Bruges. The celebrated Scaliger
+was unfavorably disposed to Horace, who found a defender in Heinsius,
+another scholar of the Netherlands. D'Alembert, who became a sort of
+_Ars Poetica_ to translators, published his _Observations_ at Amsterdam
+in 1763.
+
+An account of the English translations of the poet would include many
+renderings of individual poems, such as those of Dryden, Sir Stephen E.
+De Vere, and John Conington, and the version of Theodore Martin,
+probably the most successful complete metrical translation of Horace in
+any language. It is literally true that "every theory of translation has
+been exemplified in some English rendering of Horace."
+
+It is in the field of literature, however, that the manifestations of
+Horace's hold upon the English are most numerous and most significant.
+Even Shakespeare's "small Latin" includes him, in _Titus Andronicus_:
+
+Demetrius.
+
+  W_hat's here? A scroll, and written round about!_
+  L_et's see_:
+
+      Integer vitae scelerisque purus
+      Non eget Mauri jaculis nec arcu.
+
+Chiron.
+
+  O_, 'tis a verse in Horace; I know it well_:
+  I_ read it in the grammar long ago_.
+
+The mere mention of English authors in poetry and prose who were touched
+and kindled by the Horatian flame would amount to a review of the whole
+course of English literature. It would begin principally with Spenser
+and Ben Jonson, who in some measure represented in their land what the
+Pleiad meant in France, and Opitz and his following in Germany. "Steep
+yourselves in the classics," was Jonson's counsel, and his countrymen
+did thus steep themselves to such a degree that it is possible for the
+student to say of Milton's times: "The door to English literature and
+history of the seventeenth century is open wide to those who are at ease
+in the presence of Latin. Many writings and events of the time may
+doubtless be understood and enjoyed by readers ignorant of the classics,
+but to them the heart and spirit of the period as a whole will hardly be
+revealed. Poetry, philosophy, history, biography, controversy, sermons,
+correspondence, even conversation,--all have come down to us from the
+age of Milton either written in or so touched with Latin that one is
+compelled to enter seventeenth century England by way of Rome as Rome
+must be entered by way of Athens."
+
+Great as was the vogue of Latin in the earlier centuries, it was the
+first half of the eighteenth, the most critical period in English
+letters, that realized to the full the virtues of Horace. His words in
+the _Ars Poetica_ "were accepted, even more widely than the laws of
+Aristotle, as the standard of critical judgment. Addison and Steele by
+their choice of mottoes for their periodicals, Prior by his adoption of
+a type of lyric that has since his time been designated as Horatian, and
+Pope with his imposing series of _Imitations_, gave such an impulse to
+the already widespread interest that it was carried on through the whole
+of the century." "Horace may be said to pervade the literature of the
+eighteenth century in three ways: as a teacher of political and social
+morality; as a master of the art of poetry; and as a sort of _elegantiae
+arbiter_." Richardson, Sterne, Smollett, and Fielding, Gay, Samuel
+Johnson, Chesterfield, and Walpole, were all familiar with and fond of
+Horace, and took him unto themselves.
+
+In the nineteenth century, Wordsworth has an intimate familiarity with
+Virgil, Catullus, and Horace, but loves Horace best; Coleridge thinks
+highly of his literary criticism; Byron, who never was greatly fond of
+him, frequently quotes him; Shelley reads him with pleasure; Browning's
+_The Ring and the Book_ contains many quotations from him; Thackeray
+makes use of phrases from the _Odes_ "with an ease and facility which
+nothing but close intimacy could produce"; Andrew Lang addresses to him
+the most charming of his _Letters to Dead Authors_; and Austin Dobson is
+inspired by him in many of his exquisite poems in lighter vein. These
+names, and those in the paragraphs preceding, are not all that might be
+mentioned. The literature of England is honey-combed with the classic
+authors in general, and Horace is among the foremost. Without him and
+without the classics, a great part of our literary patrimony is of
+little use.
+
+
+_vi_. IN THE SCHOOLS
+
+Of the place of Horace in the schools and universities of all these
+countries, and of the world of western civilization in general, it is
+hardly necessary to speak. The enlightened sentiment of the five hundred
+years since the death of Petrarch has been enthusiastic in the
+conviction that the Greek and Latin classics are indispensable to
+instruction of the first quality, and that among them Horace is of
+exceeding value as a model of poetic taste and as an influence in the
+formation of a philosophy of life. If his place has been less secure in
+latter days, it is due less to alteration of that conviction than to
+extension of the educational system to the utilitarian arts and
+sciences, and to the passing of educational control from the few to the
+general average.
+
+
+
+
+III. HORACE THE DYNAMIC
+
+THE CULTIVATED FEW
+
+
+We have followed in such manner and at such length as is possible for
+our purpose the fortunes of Horace through the ages from his death and
+the death of the Empire in whose service his pen was employed to our own
+times. We have seen that he never was really forgotten, and that there
+never was a time of long duration when he ceased to be of real
+importance to some portion of mankind.
+
+The recital of historical fact is at best a narration of circumstance to
+which there clings little of the warmth of life. An historical event
+itself is but the cumulated and often frigid result of intimate original
+forces that may have meant long travail of body and soul before the act
+of realization became possible. The record of the event in chronicle or
+its commemoration in monument is only the sign that at some time there
+occurred a significant moment rendered inevitable by previous stirrings
+of life whose intensity, if not whose very identity, are forgotten or no
+longer realized.
+
+Thus the enumeration of manuscript revisions, translations, imitations,
+and scholastic editions of Horace may also seem at first sight the
+narrative of cold detail. There may be readers who, remembering the
+scant stream of the cultivated few who tided the poet through the
+centuries of darkness, and the comparative rareness of cultivated men at
+all times, will be slow to be convinced of any real impress of Horace
+upon the life of men. They especially who reflect that during all the
+long sweep of time the majority of those who have known him, and even of
+those who have been stirred to enthusiasm by him, have known him through
+the compulsion of the school, and who reflect farther on the
+artificialities, the insincerities, the pettinesses, the abuses, and the
+hatreds of the class-room, the joy with which at the end the text-book
+is dropped or bidden an even more violent farewell, and the apparently
+total oblivion that follows, will be inclined to view as exaggeration
+the most moderate estimate of our debt to him.
+
+Yet skepticism would be without warrant. The presence of any subject in
+an educational scheme represents the sincere, and often the fervent,
+conviction that it is worthy of the place. In the case of literary
+subjects, the nearer the approach to pure letters, the less demonstrable
+the connection between instruction and the winning of livelihood, the
+more intense the conviction. The immortality of literature and the arts,
+which surely has been demonstrated by time, the respect in which they
+are held by a world so intent on mere living that of its own motion it
+would never heed, is the work of the passionate few whose enthusiasms
+and protestations never allow the common crowd completely to forget, and
+keep forever alive in it the uneasy sense of imperfection. That Horace
+was preserved for hundreds of years by monastery and school, that the
+fact of acquaintance with him is due to his place in modern systems of
+education, are not mere statements empty of life. They represent the
+noble enthusiasms of enlightened men. The history of human progress has
+been the history of enthusiasms. Without enthusiasms, the fabric of
+civilization would collapse in a day into the chaos of barbarism.
+
+To give greater completeness and reality to our account of Horace's
+place among men, ancient and modern, we must in some way add to the
+narrative of formal fact the demonstration of his influence in actual
+operation. In the case of periods obscure and remote, this is hardly
+possible. In the case of modern times it is not so difficult. For the
+recent centuries, as proof of the peculiar power of Horace, we have the
+abundant testimony of literature and biography.
+
+Let us call this influence the Dynamic Power of Horace. Dynamic power is
+the power that explodes men, so to speak, into physical or spiritual
+action, that operates by inspiration, expansion, fertilization,
+vitalization, and results in the living of a fuller life. If we can be
+shown concrete instances of Horace enriching the lives of men by
+increasing their love and mastery of art or multiplying their means of
+happiness, we shall not only appreciate better the poet's meaning for
+the present day, but be better able to imagine his effect upon men in
+the remoter ages whose life is less open to scrutiny.
+
+Our purpose will best be accomplished by demonstrating the very specific
+and pronounced effect of Horace, first, upon the formation of the
+literary ideal; second, upon the actual creation of literature; and,
+third, upon living itself.
+
+
+1. HORACE AND THE LITERARY IDEAL
+
+There is no better example of the direct effect of Horace than the part
+played in the discipline of letters by the _Ars Poetica_. This work is a
+literary _causerie_ inspired in part by the reading of Alexandrian
+criticism, but in larger part by experience. In it the author's
+uppermost themes, as in characteristic manner he allows himself to be
+led on from one thought to another, are unity, consistency, propriety,
+truthfulness, sanity, and carefulness. Such has been its power by reason
+of inner substance and outward circumstance that it has been at times
+exalted into a court of appeal hardly less authoritative than Aristotle
+himself, from whom in large part it ultimately derives.
+
+We have seen how the Pleiad, with Du Bellay and Ronsard leading, seized
+upon the classics as a means of elevating the literature of France, and
+how the treatise of Du Bellay which was put forth as their manifesto was
+full of matter from the _Ars Poetica_, which two years previously has
+served Sibilet also, whose work Du Bellay attacked. A century later,
+Boileau's _L'Art Poétique_ testifies again to the inspiration of Horace,
+who is made the means of riveting still more firmly upon French drama,
+for good or ill, the strict rules that have always governed it; and by
+the time of Boileau's death the program of the Pleiad is revived a
+second time by Jean Baptiste Rousseau. Opitz and Gottsched in the
+seventeenth and eighteenth centuries are for Germany what Du Bellay and
+Boileau were for France in the sixteenth and seventeenth. Literary Spain
+of the latter fifteenth and early sixteenth centuries was under the same
+influence. The Spanish peninsula, according to Menéndez y Pelayo, has
+produced no fewer than forty-seven translations of the _Ars Poetica_.
+Even in England, always less tractable in the matter of rules than the
+Latin countries, Ben Jonson and his friends are in some sort another
+Pleiad, and the treatise possesses immense authority throughout the
+centuries. We turn the pages of Cowl's _The Theory of Poetry in
+England_, a book of critical extracts illustrating the development of
+poetry "in doctrines and ideas from the sixteenth century to the
+nineteenth century," and note Ben Jonson and Wordsworth referring to or
+quoting Horace in the section on Poetic Creation; Dryden and Temple
+appealing to him and Aristotle on the Rules; Hurd quoting him on Nature
+and the Stage; Roger Ascham, Ben Jonson, and Dryden citing him as an
+example on Imitation; Dryden and Chapman calling him master and
+law-giver on Translation; Samuel Johnson referring to him on the same
+subject; and Ben Jonson and Dryden using him on Functions and Principles
+of Criticism. "Horace," writes Jonson, "an author of much civility, ...
+an excellent and true judge upon cause and reason, not because he
+thought so, but because he knew so out of use and experience." Pope, in
+the _Essay on Criticism_, describes with peculiar felicity both Horace's
+critical manner and the character of the authority, persuasive rather
+than tyrannical, which he exercises over Englishmen:
+
+  "H_orace still charms with graceful negligence_,
+  A_nd without method talks us into sense_;
+  W_ill, like a friend, familiarly convey_
+  T_he truest notions in the easiest way_."
+
+But the dynamic power of the _Ars Poetica_ will be still better
+appreciated if we assemble some of its familiar principles. Who has not
+heard of and wondered at the hold the "Rules" have had upon modern
+drama, especially in France,--the rule of five acts, no more and no
+less; the rule of three actors only, liberalized into the rule of
+economy; the rule of the unities in time, place, and action; the rule
+against the mingling of the tragic and comic "kinds"; the rule against
+the artificial dénouement? Who has not heard of French playwrights
+composing "with one eye on the clock" for fear of violating the unity of
+time, or of their delight in the writing of drama as in "a difficult
+game well played?" If Alexandrian criticism, and, back of it, Aristotle,
+were ultimately responsible for the rules, Horace was their disseminator
+in later times, and was looked up to as final authority. Who has not
+heard and read repeatedly the now common-place injunctions to be
+appropriate and consistent in character-drawing; to avoid, on the one
+hand, clearness at the cost of diffuseness, and, on the other, brevity
+at the cost of obscurity; to choose subject-matter suited to one's
+powers; to respect the authority of the masterpiece and to con by night
+and by day the great Greek exemplars; to feel the emotion one wishes to
+rouse; to stamp the universal with the mark of individual genius; to be
+straightforward and rapid and omit the unessential; to be truthful to
+life; to keep the improbable and the horrible behind the scenes; to be
+appropriate in meter and diction; to keep clear of the fallacy of poetic
+madness; to look for the real sources of successful writing in sanity,
+depth of knowledge, and experience with men; to remember the mutual
+indispensability of genius and cultivation; to combine the pleasant and
+the useful; to deny one's self the indulgence of mediocrity; never to
+compose unless under inspiration; to give heed to solid critical
+counsel; to lock up one's manuscript for nine years before giving it to
+the world; to destroy what does not measure up to the ideal; to take
+ever-lasting pains; to beware of the compliments of good-natured
+friends? Not less familiar are the apt figurative illustrations of the
+woman beautiful above and an ugly fish below, the purple patch, the
+painter who would forever put in his cypress tree, the amphora that came
+out a pitcher, the dolphin in the wood and the boar in the waters, the
+sesquipedalian word, the mountains in travail and the birth of the
+ridiculous mouse, the plunge _in medias res_, the praiser of the good
+old times, the exclusion of sane poets from Helicon, the counsellor who
+himself can write nothing, but will serve as whetstone for genius, the
+nodding of Homer.
+
+Nor did the effects of this diffusion of Horatian precept consist merely
+in restraint upon the youthful and the impulsive, or confine themselves
+to the drama, with which the _Ars Poetica_ was mainly concerned. The
+persuasive and authoritative counsels of the Roman poet have entered, so
+to speak, into the circulatory system of literary effort and become part
+of the life-blood of modern enlightenment. Their great effect has been
+formative: the cultivation of character in literature.
+
+
+
+2. HORACE AND LITERARY CREATION
+
+_i_. THE TRANSLATOR'S IDEAL
+
+Besides the invisible, and the greatest, effect of Horace in the
+moulding of character in literature, is the visible effect in literary
+creation. His inspiration wrought by performance as well as by precept.
+The numerous essays in verse and prose on the art of letters which have
+been prompted by the _Ars Poetica_ are themselves examples of this
+effect. They are not alone, however, though perhaps the most apparent.
+The purer literature of the lyric also inspired to creation, with
+results that are far more charming, if less substantial.
+
+In the case of the lyric inspired by the _Odes_, as well as in the case
+of the critical essay inspired by the _Ars Poetica_, it is not always
+easy to distinguish adaptation or imitation from actual creation.
+Bernardo Tasso's _Ode_, for example, and Giovanni Prati's _Song of
+Hygieia_, while really independent poems, are so charged with Horatian
+matter and spirit that one hesitates to call them original. The same is
+true of the many inspirations traceable to the famous _Beatus Ille
+Epode_, which, with such _Odes_ as _The Bandusian Spring_, _Pyrrha_,
+_Phidyle_, and _Chloe_, have captured the fancy of modern poets. Pope's
+_Solitude_, on the other hand, while surely an inspiration of the second
+_Epode_, shows hardly a mark affording proof of the fact.
+
+To some of the most manifest imitations and adaptations, it is
+impossible to deny originality. The _Fifth Book of Horace_, by Kipling
+and Graves, is an example. Thackeray's delightful _Ad Ministram_ is
+another example which must be classed as adaptation, yet such is its
+spontaneity that not to see in it an inspiration would be stupid and
+unjust:
+
+
+AD MINISTRAM
+
+  D_ear Lucy, you know what my wish is_--
+    I_ hate all your Frenchified fuss_:
+  Y_our silly entrées and made dishes_
+    W_ere never intended for us_.
+  N_o footman in lace and in ruffles_
+    N_eed dangle behind my arm-chair_;
+  A_nd never mind seeking for truffles_
+    A_lthough they be ever so rare_.
+
+  B_ut a plain leg of mutton, my Lucy_,
+    I_ prithee get ready at three_:
+  H_ave it smoking, and tender, and juicy_,
+    A_nd what better meat can there be?_
+  A_nd when it has feasted the master_,
+    'T_will amply suffice for the maid_;
+  M_eanwhile I will smoke my canaster_,
+    A_nd tipple my ale in the shade_.
+
+In similar strain of exquisite humor are the adaptations of the
+Whichers, American examples of spirit and skill not second to that of
+Thackeray:
+
+
+MY SABINE FARM
+
+LAUDABUNT ALII
+
+  S_ome people talk about "Noo Yo'k"_;
+    O_f Cleveland many ne'er have done_;
+  T_hey sing galore of Baltimore_,
+    C_hicago, Pittsburgh, Washington_.
+
+  O_thers unasked their wit have tasked_
+    T_o sound unending praise of Boston_--
+  O_f bean-vines found for miles around_
+    A_nd crooked streets that I get lost on_.
+
+  G_ive me no jar of truck or car_,
+    N_o city smoke and noise of mills_;
+  R_ather the slow Connecticut's flow_
+    A_nd sunny orchards on the hills_.
+
+  T_here like the haze of summer days_
+    B_efore the wind flee care and sorrow_.
+  I_n sure content each day is spent_,
+    U_nheeding what may come to-morrow_.
+
+
+VITAS HINNULEO
+
+DONE BY MR. WILLIAM WORDSWORTH
+
+  I _met a little Roman maid_;
+    S_he was just sixteen (she said)_,
+  A_nd O! but she was sore afraid_,
+    A_nd hung her modest head_.
+
+  A _little fawn, you would have vowed_,
+    T_hat sought her mother's side_,
+  A_nd wandered lonely as a cloud_
+    U_pon the mountain wide_.
+
+  W_hene'er the little lizards stirred_
+    S_he started in her fear_;
+  I_n every rustling bush she heard_
+    S_ome awful monster near_.
+
+  "I_'m not a lion; fear not so_;
+    S_eek not your timid dam_."--
+  B_ut Chloe was afraid, and O!_
+    S_he knows not what I am_:
+
+    A creature quite too bright and good
+    To be so much misunderstood.
+
+Again, in Austin Dobson's exquisite _Triolet_, whether the inspiration
+of the poem itself is in Horace, or the inspiration, so far as Horace is
+concerned, lies in the choice of title after the verses were written, we
+must in either case confess a debt of great delight to the author of the
+_Ars Poetica_:
+
+
+URCEUS EXIT
+
+  I_ intended an Ode_,
+    A_nd it turned to a Sonnet_.
+  I_t began_ à la mode,
+  I_ intended an Ode_;
+  B_ut Rose crossed the road_
+  I_n her latest new bonnet_;
+    I_ intended an Ode_,
+  A_nd it turned to a Sonnet_.
+
+The same observation applies equally to the same author's _Iocosa Lyra_:
+
+
+IOCOSA LYRA
+
+  I_n our hearts is the great one of Avon_
+                                E_ngraven_,
+  A_nd we climb the cold summits once built on_
+                                B_y Milton_;
+
+  B_ut at times not the air that is rarest_
+                                I_s fairest_,
+  A_nd we long in the valley to follow_
+                                A_pollo_.
+
+  T_hen we drop from the heights atmospheric_
+                                T_o Herrick_,
+  O_r we pour the Greek honey, grown blander_,
+                                O_f Landor_,
+
+  O_r our cosiest nook in the shade is_
+                                W_here Praed is_,
+  O_r we toss the light bells of the mocker_
+                                W_ith Locker_.
+
+  O_ the song where not one of the Graces_
+                                T_ightlaces_,--
+  W_here we woo the sweet Muses not starchly_,
+                                B_ut archly_,--
+
+  W_here the verse, like a piper a-Maying_
+                                C_omes playing_,--
+  A_nd the rhyme is as gay as a dancer_
+                                I_n answer_,--
+
+  I_t will last till men weary of pleasure_
+                                I_n measure!_
+  I_t will last till men weary of laughter_ ...
+                                A_nd after!_
+
+Whatever we may say of the indebtedness of things like these to the
+letter of the ancient poet, we must acknowledge them all alike as
+examples of the dynamic power of Horace.
+
+
+_ii_. CREATION
+
+But there are other examples whose character as literary creation is
+still farther beyond question. Such a one, to mention one brilliant
+specimen in prose, is the letter of Andrew Lang to Horace. In verse,
+Austin Dobson again affords one of the happiest examples:
+
+
+TO Q.H.F.
+
+  "H_oratius Flaccus_, B.C. 8,"
+  T_here's not a doubt about the date_,--
+      Y_ou're dead and buried_:
+  A_s you observed, the seasons roll_;
+  A_nd 'cross the Styx full many a soul_
+      H_as Charon ferried_,
+  S_ince, mourned of men and Muses nine_,
+  T_hey laid you on the Esquiline_.
+
+  A_nd that was centuries ago!_
+  Y_ou'd think we'd learned enough, I know_,
+      T_o help refine us_,
+  S_ince last you trod the Sacred Street_,
+  A_nd tacked from mortal fear to meet_
+      T_he bore Crispinus_;
+  O_r, by your cold Digentia, set_
+  T_he web of winter birding-net_.
+
+  O_urs is so far-advanced an age!_
+  S_ensation tales, a classic stage_,
+      C_ommodious villas!_
+  W_e boast high art, an Albert Hall_,
+  A_ustralian meats, and men who call_
+      T_heir sires gorillas!_
+  W_e have a thousand things, you see_,
+  N_ot dreamt in your philosophy_.
+
+  A_nd yet, how strange! Our "world," today_,
+  T_ried in the scale, would scarce outweigh_
+      Y_our Roman cronies_;
+  W_alk in the Park,--you'll seldom fail_
+  T_o find a Sybaris on the rail_
+      B_y Lydia's ponies_,
+  O_r hap on Barrus, wigged and stayed_,
+  O_gling some unsuspecting maid_.
+
+  T_he great Gargilius, then, behold!_
+  H_is "long-bow" hunting tales of old_
+      A_re now but duller_;
+  F_air Neobule too! Is not_
+  O_ne Hebrus here,--from Aldershot?_
+      A_ha, you colour!_
+  B_e wise. There old Canidia sits_;
+  N_o doubt she's tearing you to bits_.
+
+  A_nd look, dyspeptic, brave, and kind_,
+  C_omes dear Maecenas, half behind_
+      T_erentia's skirting_;
+  H_ere's Pyrrha, "golden-haired" at will_;
+  P_rig Damasippus, preaching still_;
+      A_sterie flirting_,--
+  R_adiant, of course. We'll make her black_,--
+  A_sk her when Gyges' ship comes back_.
+
+  S_o with the rest. Who will may trace_
+  B_ehind the new each elder face_
+      D_efined as clearly_;
+  S_cience proceeds, and man stands still_;
+  O_ur "world" today's as good or ill_,--
+      A_s cultured_ (_nearly_),
+  A_s yours was, Horace! You alone_,
+  U_nmatched, unmet, we have not known_.
+
+But it is not only to comparatively independent creation that we must
+look. The dynamic power of Horace is to be found at work even in the
+translation of the poet. The fact that he has had more translators than
+any other poet, ancient or modern, is itself an evidence of
+inspirational quality, but a greater proof lies in the variety and
+character of his translators and the quality of their achievement. A
+list of those who have felt in this way the stirrings of the Horatian
+spirit would include the names not only of many great men of letters,
+but of many great men of affairs, whose successes are to be counted
+among examples of genuine inspiration. Translation at its best is not
+mere craftsmanship, but creation,--in Roscommon's lines,
+
+  'T_is true, composing is the Nobler Part_,
+  B_ut good Translation is no easy Art_.
+
+Theodore Martin's rendering of I. 21, _To a Jar of Wine_, already quoted
+in part, is an example. Another brilliant success is Sir Stephen E. De
+Vere's I. 31, _Prayer to Apollo_, quoted in connection with the poet's
+religious attitude. No less felicitous are Conington's spirited twelve
+lines, reproducing III. 26, _Vixi puellis_:
+
+
+VIXI PUELLIS NUPER IDONEUS
+
+  F_or ladies' love I late was fit_,
+    A_nd good success my warfare blest_;
+  B_ut now my arms, my lyre I quit_,
+    A_nd hang them up to rust or rest_.
+  H_ere, where arising from the sea_
+    S_tands Venus, lay the load at last_,
+  L_inks, crowbars, and artillery_,
+    T_hreatening all doors that dared be fast_.
+  O_ Goddess! Cyprus owns thy sway_,
+    A_nd Memphis, far from Thracian snow_:
+  R_aise high thy lash, and deal me, pray_,
+    T_hat haughty Chloe just one blow!_
+
+To translate in this manner is beyond all doubt to deserve the name of
+poet.
+
+We may go still farther and claim for Horace that he has been a dynamic
+power in the art of translation, not only as it concerned his own poems,
+but in its concern of translation as a universal art. No other poet
+presents such difficulties; no other poet has left behind him so long a
+train of disappointed aspirants. "Horace remains forever the type of the
+untranslatable," says Frederic Harrison. Milton attempts the _Pyrrha_
+ode in unrhymed meter, and the light and bantering spirit of Horace
+disappears. Milton is correct, polished, restrained, and pure, but heavy
+and cold. An exquisite _jeu d'esprit_ has been crushed to death:
+
+  W_hat slender youth, bedew'd with liquid odours_,
+  C_ourts thee on roses in some pleasant cave_,
+      P_yrrha? For whom bind'st thou_
+      I_n wreaths thy golden hair_,
+  P_lain in thy neatness? O how oft shall he_
+  O_n faith and changèd gods complain, and seas_
+      R_ough with black winds and storms_
+      U_nwonted shall admire_!
+  W_ho now enjoys thee credulous, all gold_,
+  W_ho, always vacant, always amiable_
+      H_opes thee, of flattering gales_
+      U_nmindful! Hapless they_
+  T_o whom thou untried seem'st fair! Me in my vowed_
+  P_icture, the sacred wall declares to have hung_
+      M_y dank and dropping weeds_
+      T_o the stern God of Sea_.
+
+But let the attempt be made to avoid the ponderous movement and
+excessive sobriety of Milton, and to communicate the Horatian airiness,
+and there is a loss in conciseness and reserve:
+
+  W_hat scented youth now pays you court_,
+    P_yrrha, in shady rose-strewn spot_
+  D_allying in love's sweet sport_?
+    F_or whom that innocent-seeming knot_
+  I_n which your golden strands you dress_
+  W_ith all the art of artlessness?_
+
+  D_eluded lad! How oft he'll weep_
+    O_'er changèd gods! How oft, when dark_
+  T_he billows roughen on the deep_,
+    S_torm-tossed he'll see his wretched bark_!
+  U_nused to Cupid's quick mutations_,
+  I_n store for him what tribulations!_
+
+  B_ut now his joy is all in you_;
+    H_e thinks your heart is purest gold_;
+  E_xpects you'll always be love-true_,
+    A_nd never, never, will grow cold_.
+  P_oor mariner on summer seas_,
+  U_ntaught to fear the treacherous breeze!_
+
+  A_h, wretched whom your Siren call_
+    D_eludes and brings to watery woes_!
+  F_or me--yon plaque on Neptune's wall_
+    S_hows I've endured the seaman's throes_.
+  M_y drenchèd garments hang there, too_:
+  H_enceforth I shun the enticing blue._
+
+It is not improbable that the struggle of the centuries with the
+difficulties of rendering Horace has been a chief influence in the
+development of our present exacting ideal of translation; so exacting
+indeed that it has defeated its purpose. By emphasis upon the
+impossibility of rendering accurately the content of poetry in the form
+of poetry, scholastic discussion of the theory of translation has led
+first to despair, and next from despair to the scientific and
+unaesthetic principle of rendering into exact prose all forms of
+literature alike. The twentieth century has thus opened again and
+settled in opposite manner the old dispute of the French D'Alembert and
+the Italian Salvini in the seventeen-hundreds, which was resolved by
+actual results in favor of D'Alembert and fidelity to spirit as opposed
+to Salvini and fidelity to letter.
+
+In what we have said thus far of the dynamic power of Horace in literary
+creation, we have dealt with visible results. We should not be misled,
+however, by the satisfaction of seeing plainly in imitation, adaptation,
+translation, quotation, or real creation, the mark of Horatian
+influence. The discipline of the literary ideal in the individual, and
+the moulding of character in literature as an organism, are effects less
+clearly visible, but, after all, of greater value. If the bread and meat
+of human sustenance should appear in the body as recognizable bread and
+meat, it would hardly be a sign of health. Its value is in the strength
+conferred by assimilation. With all respect and gratitude for creation
+manifestly due to Horace, we must also realize that this is but a
+superficial result as compared with the chastening restraint of
+expression and the health and vigor of content that have been encouraged
+by allegiance to him, but are known by no special marks. It is no bad
+sign when we turn the pages of the _Oxford Selections of Verse_ in the
+various modern languages and find but few examples of the visible sort
+of Horatian influence. To detect the more invisible sort requires the
+keen eye and the sensitive spirit of the poet-scholar, but the reader
+not so specially qualified may have faith that it exists. With Goethe
+writing of Horace as a "great, glowing, noble poet, full of heart, who
+with the power of his song sweeps us along, lifts us, and inspires us,"
+with Menéndez y Pelayo in Spain defining the Horatian lyric, whether
+Christian or pagan, by "sobriety of thought, rhythmic lightness, the
+absence of artificial adornment, unlimited care in execution, and
+brevity," and holding this ideal aloft as the influence needed by the
+modern lyric, and with no countries or periods without leaders in poetry
+and criticism uttering similar sentiments and exhortations, it would be
+difficult not to believe in a substantial Horatian effect on literary
+culture, however slight the external marks.
+
+
+3. HORACE IN THE LIVING OF MEN
+
+Let us take leave of these illustrations of the dynamic power of Horace
+in letters, and consider in conclusion his power as shown directly in
+the living of men.
+
+First of all, we may include in the dynamic working of the poet his
+stirring of the heart by pure delight. If this is not the highest and
+the ultimate effect of poetry, it is after all the first and the
+essential effect. Without the giving of pleasure, no art becomes really
+the possession of men and the instrument of good. As a matter of fact,
+many of the most frequently and best translated _Odes_ are devoid both
+of moral intent, and, in the ordinary sense, of moral effect. _To
+Pyrrha_, _Soracte Covered with Snow_, _Carpe Diem_, _To Glycera_,
+_Integer Vitae_, _To Chloe_, _Horace and Lydia_, _The Bandusian Spring_,
+_Faunus_, _To an Old Wine-Jar_, _The End of Love_, and _Beatus Ille_ are
+merely _jeux-d'esprit_ of the sort that for the moment lighten and clear
+the spirit. The same may be said of _The Bore_ and the _Journey to
+Brundisium_ among the _Satires_, and of many of the _Epistles_.
+
+But these trifles light as air are nevertheless of the sort for which
+mankind is eternally grateful, because men are convinced, without
+process of reason, that by them the fibre of life is rested and refined
+and strengthened. We may call this familiar effect by the less familiar
+name of re-creative. What lover of Horace has not felt his inmost being
+cleansed and refreshed by the simple and exquisite art of _The Bandusian
+Spring_, whose cameo of sixty-eight Latin words in four stanzas is an
+unapproachable model of vividness, elegance, purity, and restraint:
+
+  O_ crystal-bright Bandusian Spring_,
+    W_orthy thou of the mellow wine_
+  A_nd flowers I give to thy pure depths_:
+    A_ kid the morrow shall be thine_.
+
+  T_he day of lustful strife draws on_,
+    T_he starting horn begins to gleam_;
+  I_n vain! His red blood soon shall tinge_
+    T_he waters of thy clear, cold stream_.
+
+  T_he dog-star's fiercely blazing hour_
+    N_e'er with its heat doth change thy pool_;
+  T_o wandering flock and ploughworn steer_
+    T_hou givest waters fresh and cool_.
+
+  T_hee, too, 'mong storied founts I'll place_,
+    S_inging the oak that slants the steep_,
+  A_bove the hollowed home of rock_
+    F_rom which thy prattling streamlets leap_.
+
+Or who does not live more abundant life at reading the _Chloe Ode_, with
+its breath of the mountain air and its sense of the brooding forest
+solitude, and its exquisite suggestion of timid and charming girlhood?
+
+  "Y_ou shun me, Chloe, wild and shy_
+    A_s some stray fawn that seeks its mother_
+  T_hrough trackless woods. If spring-winds sigh_,
+    I_t vainly strives its fears to smother_;--
+
+  "I_ts trembling knees assail each other_
+    W_hen lizards stir the bramble dry_;--
+    Y_ou shun me, Chloe, wild and shy_
+  A_s some stray fawn that seeks its mother_.
+
+  "A_nd yet no Libyan lion I_,--
+    N_o ravening thing to rend another_;
+  L_ay by your tears, your tremors by_,--
+    A_ husband's better than a brother_;
+  N_or shun me, Chloe, wild and shy_
+    A_s some stray fawn that seeks its mother_."
+
+But there are those who demand of poetry a usefulness more easily
+measurable than that of recreation. In their opinion, it is improvement
+rather than pleasure which is the end of art, or at least improvement as
+well as pleasure. In this, indeed, the poet himself is inclined to
+agree: "He who mingles the useful with the pleasant by delighting and
+likewise improving the reader, will get every vote."
+
+Let us look for these more concrete results, and see how Horace the
+person still lives in the character of men, as well as Horace the poet
+in the character of literature.
+
+To appreciate this better, we must return to the theme of Horace's
+personal quality. We have already seen that in no other poet so fully as
+in Horace is the reality of personal contact to be felt. The lyrics, as
+well as the _Epistles_ and _Satires_, are almost without exception
+addressed to actual persons. So successful is this attempt of the poet
+to speak from the page that it needs but the slightest touch of
+imagination to create the illusion that we ourselves are addressed. We
+feel, as if at first hand, all the qualities that went to make up
+Horace's character,--his good will, good faith, and good-nature, the
+depth and constancy of his friendship, his glow of admiration for the
+brave deed, the pure heart, and the steadfast purpose, his patient
+endurance of ill, his delight in men and things, his affection for what
+is simple and sincere, his charity for human weakness, his mildly
+ironical mood, as of one who is aware that he himself is not undeserving
+of the good-humored censure he passes on others, his clear vision of the
+sources of happiness, his reposeful acquiescence, and his elusive humor,
+which never bursts into laughter and yet is never far away from it. We
+are taken into his confidence, like old friends. He describes himself
+and his ways; he lets us share in his own vision of himself and in his
+amusement at the bustling and self-deluded world, and subtly conciliates
+us by making us feel ourselves partakers with him in the criticism of
+life. There is no better example in literature of personal magnetism.
+
+And he is more than merely personal. He is sincere and unreserved. Were
+he otherwise, the delight of intimate acquaintance with him would be
+impossible. It is the real Horace whom we meet,--not a person on the
+literary stage, with buskins, pallium, and mask. Horace holds the mirror
+up to himself; rather, not to himself, but to nature in himself. Every
+side of his personality appears: the artist, and the man; the formalist,
+and the skeptic; the spectator, and the critic; the gentleman in
+society, and the son of the collector; the landlord of five hearths, and
+the poet at court; the stern moralist, and the occasional voluptuary;
+the vagabond, and the conventionalist. He is independent and unhampered
+in his expression. He has no exalted social position to maintain, and
+blushes neither for parentage nor companions. His philosophy is not
+School-made, and the fear of inconsistency never haunts him. His
+religion requires no subscription to dogma; he does not even take the
+trouble to define it. Politically, his duties have come to be also his
+desires. He will accept the favors of the Emperor and his ministers if
+they do not compromise his liberty or happiness. If they withdraw their
+gifts, he knows how to do without them, because he has already done
+without them. He conceals nothing, pretends to nothing, makes no
+excuses, suffers from no self-consciousness, exercises no reserve. There
+are few expressions of self in all literature so spontaneous and so
+complete. Horace has left us a portrait of his soul much more perfect
+than that of his person. It is a truthful portrait, with both shadow and
+light.
+
+And there is a corollary to Horace's frankness that constitutes another
+element in the charm of his personality. His very unreserve is the proof
+of an open and kindly heart. To call him a satirist at all is to
+necessitate his own definition of satire, "smilingly to tell the truth."
+At least in his riper work, there is no trace of bitterness. He laughs
+with some purpose and to some purpose, but his laughter is not sardonic.
+Sane judgment and generous experience tell him that the foibles of
+mankind are his own as well as theirs, and are not to be changed by so
+slight a means as a railing tongue. He reflects that what in himself has
+produced no very disastrous results may without great danger be forgiven
+also in them.
+
+It is this intimate and warming quality in Horace that prompts Hagedorn
+to call him "my friend, my teacher, my companion," and to take the poet
+with him on country walks as if he were a living person:
+
+  Horaz, mein Freund, mein Lehrer, mein Begleiter,
+  Wir gehen aufs Land. Die Tage sind so heiter;
+
+and Nietzsche to compare the atmosphere of the _Satires_ and _Epistles_
+to the "geniality of a warm winter day"; and Wordsworth to be attracted
+by his appreciation of "the value of companionable friendship"; and
+Andrew Lang to address to him the most personal of literary letters; and
+Austin Dobson to give his Horatian poems the form of personal address;
+and countless students and scholars and men out of school and immersed
+in the cares of life to carry Horace with them in leisure hours. _Circum
+praecordia ludit_, "he plays about the heartstrings," said Persius, long
+before any of these, when the actual Horace was still fresh in the
+memory of men.
+
+If we were to take detailed account of certain qualities missed in
+Horace by the modern reader, we should be even more deeply convinced of
+his power of personal attraction. He is not a Christian poet, but a
+pagan. Faith in immortality and Providence, penitence and penance, and
+humanitarian sentiment, are hardly to be found in his pages. He is
+sometimes too unrestrained in expression. The unsympathetic or
+unintelligent critic might charge him with being commonplace.
+
+Yet these defects are more apparent than real, and have never been an
+obstacle to souls attracted by Horace. His pages are charged with
+sympathy for men. His lapses in taste are not numerous, and are, after
+all, less offensive than those of European letters today, after the
+coming of sin with the law. And he is not commonplace, but universal.
+His content is familiar matter of today as well as of his own time. His
+delightful natural settings are never novel, romantic, or forced; we
+have seen them all, in experience or in literature, again and again, and
+they make familiar and intimate appeal. Phidyle is neither ancient nor
+modern, Latin nor Teuton; she is all of them at once. The exquisite
+expressions of friendship in the odes to a Virgil, or a Septimius, are
+applicable to any age or nationality, or any person. The story of the
+town mouse and country mouse is always old and always new, and always
+true. _Mutato nomine de te_ may be said of it, and of all Horace's other
+stories; alter the names, and the story is about you. Their application
+and appeal are universal.
+
+"Without sustained inspiration, without profundity of thought, without
+impassioned song," writes Duff, "he yet pierces to the universal
+heart.... His secret lies in sanity rather than impetus. Kindly and
+shrewd observer of the manifold activities of life, he draws vignettes
+therefrom and passes judgments thereon which awaken undying interest.
+_Non omnis moriar_--he remains fresh because he is human."
+
+Horace's philosophy of life may be imperfect for the militant
+humanitarian and the Christian, but, as a matter of fact, it is a
+complete and perfect thing in itself. Horace does not fret or fume. He
+is not morbid or unpleasantly melancholy. It is true that "his tempered
+and polished expression of common experience, free from transports and
+free from despairs, speaks more forcibly to ripe middle age than to
+youth," but it is not without its appeal also to youth. Horace sums up
+an attitude toward existence which all men, of whatever nation or time,
+can easily understand, and which all, at some moment or other,
+sympathize with. Whether they believe in his philosophy of life or not,
+whether they put it into practice or not, it is always and everywhere
+attractive,--attractive because founded on clear and sympathetic vision
+of the joys and sorrows that are the common lot of men, attractive
+because of its frankness and manly courage, and, above all, attractive
+because of its object. So long as the one great object of human longing
+is peace of mind and heart, no philosophy which recognizes it will be
+without followers. The Christian is naturally unwilling to adopt the
+Horatian philosophy as a whole, but with its _summum bonum_, and with
+many of its recommendations, he is in perfect accord. Add Christian
+faith to it, or add it, so far as is consonant, to Christian faith, and
+either is enriched.
+
+We are better able now to appreciate the dynamic power of Horace the
+person. We may see it at work in the fostering of friendly affection, in
+the deepening of love for favorite spots of earth, in the encouragement
+of righteous purpose, in the true judging of life's values.
+
+Horace is the poet of friendship. With his address to "Virgil, the half
+of my soul," his references to Plotius, Varius, and Virgil as the purest
+and whitest souls of earth, his affectionate messages in _Epistle_ and
+_Ode_, he sets the heart of the reader aglow with love for his friends.
+"Nothing, while in my right mind, would I compare to the delight of a
+friend!" What numbers of men have had their hearts stirred to deeper
+love by the matchless ode to Septimius:
+
+  "S_eptimius, who with me would brave_
+    F_ar Gades, and Cantabrian land_
+  U_ntamed by Rome, and Moorish wave_
+    T_hat whirls the sand_;
+
+  "F_air Tibur, town of Argive kings_,
+    T_here would I end my days serene_,
+  A_t rest from seas and travelings_,
+    A_nd service seen_.
+
+  "S_hould angry Fate those wishes foil_,
+    T_hen let me seek Galesus, sweet_
+  T_o skin-clad sheep, and that rich soil_,
+    T_he Spartan's seat_.
+
+  "O_h, what can match the green recess_,
+    W_hose honey not to Hybla yields_,
+  W_hose olives vie with those that bless_
+   V_enafrum's fields_?
+
+  "L_ong springs, mild winters glad that spot_
+    B_y Jove's good grace, and Aulon, dear_
+  T_o fruitful Bacchus, envies not_
+    F_alernian cheer_.
+
+  "T_hat spot, those happy heights desire_
+    O_ur sojourn; there, when life shall end_,
+  Y_our tear shall dew my yet warm pyre_,
+    Y_our bard and friend_."
+
+And what numbers of men have taken to their hearts from the same ode the
+famous
+
+  Ille terrarum mihi praeter omnes
+  Angulus ridet,--
+
+  Y_onder little nook of earth_
+  B_eyond all others smiles on me_,--
+
+and expressed through its perfect phrase the love they bear their own
+beloved nook of earth. "Happy Horace!" writes Sainte-Beuve on the margin
+of his edition, "what a fortune has been his! Why, because he once
+expressed in a few charming verses his fondness for the life of the
+country and described his favorite corner of earth, the lines composed
+for his own pleasure and for the friend to whom he addressed them have
+laid hold on the memory of all men and have become so firmly lodged
+there that one can conceive no others, and finds only those when he
+feels the need of praising his own beloved retreat!"
+
+To speak of sterner virtues, what a source of inspiration to
+righteousness and constancy men have found in the apt and undying
+phrases of Horace! "Cornelius de Witt, when confronting the murderous
+mob; Condorcet, perishing in the straw of his filthy cell; Herrick, at
+his far-away old British revels; Leo, during his last days at the
+Vatican, and a thousand others," strengthened their resolution by
+repeating _Iustum et tenacem_:
+
+  "T_he man of firm and noble soul_
+    N_o factious clamors can control_
+    N_o threat'ning tyrant's darkling brow_
+      C_an swerve him from his just intent_....
+    A_y, and the red right arm of Jove_,
+    H_urtling his lightnings from above_,
+    W_ith all his terrors then unfurl'd_,
+      H_e would unmoved, unawed behold_:
+    T_he flames of an expiring world_
+      A_gain in crashing chaos roll'd_,
+    I_n vast promiscuous ruin hurl'd_,
+    M_ust light his glorious funeral pile_:
+  S_till dauntless midst the wreck of earth he'd smile_."
+
+Of this passage Stemplinger records thirty-one imitations. How many have
+had their patriotism strengthened by _Dulce et decorum est pro patria
+mori_, the verse which is aptly found in modern Rome on the monument to
+those who fell at Dogali. How many have been supported and comforted in
+calamity and sorrow by the poet's immortal words of consolation on the
+death of Quintilius:
+
+  Durum: sed levius fit patientia
+    Quicquid corrigere est nefas,--
+
+  A_h, hard it is! but patience lends_
+  S_trength to endure what Heaven sends_.
+
+The motto of Warren Hastings was _Mens aequa in arduis_,--An even temper
+in times of trial. Even humorous use of these phrases has served a
+purpose. The French minister, compelled to resign, no doubt drew
+substantial consolation from _Virtute me involvo_, when he turned it to
+fit his case:
+
+  I_n the robe of my virtue I wrap me round_
+    A _solace for loss of all I had_;
+  B_ut ah! I realize I've found_
+    W_hat it really means to be lightly clad_!
+
+But the most pronounced effect of Horace's dynamic power is its
+inspiration to sane and truthful living. Life seems a simple thing, yet
+there are many who miss the paths of happiness and wander in wretched
+discontent because they are not bred to distinguish between the false
+and the real. We have seen the lesson of Horace: that happiness is not
+from without, but from within; that it is not abundance that makes
+riches, but attitude; that the acceptation of worldly standards of
+getting and having means the life of the slave; that the fraction is
+better increased by division of the denominator than by multiplying the
+numerator; that unbought riches are better possessions than those the
+world displays as the prizes most worthy of striving for. No poet is so
+full of inspiration as Horace for those who have glimpsed these simple
+and easy yet little known secrets of living. Men of twenty centuries
+have been less dependent on the hard-won goods of this world because of
+him, and lived fuller and richer lives. Surely, to give our young people
+this attractive example of sane solution of the problem of happy living
+is to leaven the individual life and the life of the social mass.
+
+
+
+
+IV. CONCLUSION
+
+
+We have visualized the person of Horace and made his acquaintance. We
+have seen in his character and in the character of his times the sources
+of his greatness as a poet. We have seen in him the interpreter of his
+own times and the interpreter of the human heart in all times. We have
+traced the course of his influence through the ages as both man and
+poet. We have seen in him not only the interpreter of life, but a
+dynamic power that makes for the love of men, for righteousness, and for
+happier living. We have seen in him an example of the word made flesh.
+"He has forged a link of union," writes Tyrrell, "between intellects so
+diverse as those of Dante, Montaigne, Bossuet, La Fontaine, Voltaire,
+Hooker, Chesterfield, Gibbon, Wordsworth, Thackeray."
+
+To know Horace is to enter into a great communion of twenty
+centuries,--the communion of taste, the communion of charity, the
+communion of sane and kindly wisdom, the communion of the genuine, the
+communion of righteousness, the communion of urbanity and of friendly
+affection.
+
+"Farewell, dear Horace; farewell, thou wise and kindly heathen; of
+mortals the most human, the friend of my friends and of so many
+generations of men."
+
+
+
+
+NOTES AND BIBLIOGRAPHY
+
+
+The following groups of references are not meant as annotations in the
+usual sense. Those to the text of the poet are for such persons as wish
+to increase their acquaintance with Horace by reading at first hand the
+principal poems which have inspired the essayist's conclusions. The
+others are for those who desire to view in detail the working of the
+Horatian influence.
+
+  HORACE THE PERSON:
+    _Odes_, I. 27; 38; II. 3; 7; III. 8; IV. 11.
+    _Satires_, I. 6; 9; II. 6.
+    _Epistles_, I. 7; 10; 20.
+    Suetonius, _Life of Horace_. (see below.)
+
+  HORACE THE POET:
+    _Odes_, I. 1; 3; 6; 12; 24; 35; II. 7; 16; III. 1; 21; 29; IV. 2; 3; 4.
+    _Satires_, I. 4; 6.
+    _Epistles_, I. 3; 20; II. 2.
+
+  HORACE THE INTERPRETER OF HIS TIMES:
+    Landscape;
+      _Odes_, I. 4; 31; II. 3; 6; 14; 15; III. 1; 13; 18; 23.
+      _Epistles_, I. 12; 14.
+    Living;
+      _Odes_, I. 1; III. 1; 2; 4; 6; IV. 5; _Epode_, 2.
+      _Satires_, I. 1; II. 6.
+      _Epistles_, I. 7; 10.
+    Religion;
+      _Odes_, I. 4; 10; 21; 30; 31; 34; III. 3; 13; 16; 18; 22; 23; IV.
+        5; 6; _Epode_, 2.
+    Popular Wisdom;
+      _Epistle_, I. 1; 4; II. 2.
+
+  HORACE THE PHILOSOPHER OF LIFE:
+    The Spectator and Essayist; _Satires_, I. 4; II. 1.
+    The Vanity of Human Wishes;
+      _Odes_, I. 4; 24; 28; II. 13; 14; 16; 18; III. 1; 16; 24; 29; IV. 7.
+      _Satires_, I. 4; 6.
+      _Epistles_, I. 1.
+    The Pleasures of this World;
+      _Odes_, I. 9; 11; 24; II. 3; 14; III. 8; 23; 29; IV. 12.
+      _Epistles_, I. 4.
+    Life and Morality;
+      _Odes_, I. 5; 18; 19; 27; III. 6; 21; IV. 13.
+      _Epistles_, I. 2; II. 1.
+    Life and Purpose;
+      _Odes_, I. 12; II. 2; 15; III. 2; 3; IV. 9; _Epode_, 2.
+      _Satires_, I. 1.
+      _Epistles_, I. 1.
+    The Sources of Happiness;
+      _Odes_, I. 31; II. 2; 16; 18; III. 16; IV. 9.
+      _Satires_, I. 1; 6; II. 6.
+      _Epistles_, I. 1; 2; 6; 10; 11; 12; 14; 16.
+
+  HORACE THE PROPHET:
+    _Odes_, II. 20; III. 1; 4; 30; IV. 2; 3.
+
+  HORACE AND ANCIENT ROME:
+    _Odes_, IV. 3.
+    _Epistles_, I. 20.
+    Suetonius, _Vita Horati, Life of Horace_, Translation, J.C. Rolfe,
+        in _The Loeb Classical Library_, New York, 1914.
+    Hertz, Martin, _Analecta ad carminum Horatianorum Historiam_, i-v.
+        Breslau, 1876-82.
+    Schanz, Martin, _Geschichte der Römischen Litteratur_. München, 1911.
+
+  HORACE AND THE MIDDLE AGE:
+    Manitius, Maximilian, _Analekten zur Geschichte des Horaz im
+        Mittelalter, bis 1300_. Göttingen, 1893.
+
+  HORACE AND MODERN TIMES:
+    In Italy;
+      Curcio, Gaetano Gustavo, _Q. Orazio Flacco, studiato in Italia dal
+        secolo XIII al XVIII_. Catania, 1913.
+    In France and Germany;
+      Imelmann, J., _Donec gratus eram tibi, Nachdichtungen und
+        Nachklänge aus drei Jahrhunderten_. Berlin, 1899.
+      Stemplinger, Eduard, _Das Fortleben der Horazischen Lyrik seit der
+        Renaissance_. Leipzig, 1906.
+    In Spain;
+      Menéndez y Pelayo, D. Marcelino, _Horacio en España_, 2 vols.
+        Madrid, 1885.[2]
+    In England;
+      Goad, Caroline, _Horace in the English Literature of the Eighteenth
+        Century_. New Haven, 1918.
+      Myers, Weldon T., _The Relations of Latin and English as Living
+        Languages in England during the Age of Milton_. Dayton, Virginia,
+        1913.
+      Nitchie, Elizabeth, "Horace and Thackeray," in _The Classical
+        Journal_, XIII. 393-410 (1918).
+      Shorey, Paul, and Laing, Gordon J., _Horace: Odes and Epodes_
+        (Revised Edition). Boston, 1910.
+      Thayer, Mary R., _The Influence of Horace on the Chief English
+        Poets of the Nineteenth Century_. New Haven, 1916.
+
+  HORACE THE DYNAMIC:
+    _Ars Poetica._
+    Cowl, R.P., _The Theory of Poetry in England; its development in
+        doctrines and ideas from the sixteenth century to the nineteenth
+        century_. London, 1914.
+    Dobson, Henry Austin, _Collected Poems_, Vol. I, 135, 181, 219, 222,
+        224, 231, 236, 245, 263; II. 66, 83, 243, etc. London, 1899.
+    Gladstone, W.E., _The Odes of Horace_, English Verse Translation.
+        New York, 1901.
+    Kipling, Rudyard, et Graves, C.L., _Q. Horati Flacci Carminum Liber
+        Quintus_. New Haven, 1920.[3]
+    Lang, Andrew, _Letters to Dead Authors_. New York, 1893.
+    Martin, Sir Theodore, _The Odes of Horace_; translated into English
+          verse. London, 1861.[2]
+    Untermeyer, Louis, "_--and Other Poets_." New York, 1916.
+    Whicher, G.M. and G.F., _On the Tibur Road, a Freshman's Horace_.
+          Princeton, 1912.
+
+Besides the works mentioned above, reference should be made to:
+
+  CAMPAUX, A., _Des raisons de la popularité d'Horace en France_. Paris,
+        1895.
+  D'ALTON, J.F., _Horace and His Age_. London, 1917.
+  MCCREA, N.G., _Horatian Criticism of Life_. New York, 1917.
+  STEMPLINGER, EDUARD, _Horaz im Urteil der Jahrhunderte_. Leipzig,
+        1921.
+  TAYLOR, HENRY OSBORN, _The Classical Heritage of the Middle Ages_. New
+        York, 1903.[2]
+  _The Century Horace._
+
+and, also, to the two following works, cited and quoted in the text:
+
+  DUFF, J. WIGHT, _A Literary History of Rome_. London, 1910.[2] (p.
+        545)
+  TYRRELL, R.Y., _Latin Poetry_. Boston, (lectures delivered at The
+        Johns Hopkins University, 1893). (p. 164)
+
+_Note_: Translations of Horace, not otherwise assigned or not enclosed
+in quotation marks, are those of G.S.
+
+
+
+
+Our Debt to Greece and Rome
+
+AUTHORS AND TITLES
+
+
+   1. HOMER. John A. Scott, Northwestern University.
+   2. SAPPHO. David M. Robinson, The Johns Hopkins University.
+  3A. EURIPIDES. F.L. Lucas, King's College, Cambridge.
+  3B. AESCHYLUS AND SOPHOCLES. J.T. Sheppard, King's College,
+        Cambridge.
+   4. ARISTOPHANES. Louis E. Lord, Oberlin College.
+   5. DEMOSTHENES. Charles D. Adams, Dartmouth College.
+   6. ARISTOTLE'S POETICS. Lane Cooper, Cornell University.
+   7. GREEK HISTORIANS. Alfred E. Zimmern, University of Wales.
+   8. LUCIAN. Francis G. Allinson, Brown University.
+   9. PLAUTUS AND TERENCE. Charles Knapp, Barnard College, Columbia
+        University.
+  10A. CICERO. John C. Rolfe, University of Pennsylvania.
+  10B. CICERO AS PHILOSOPHER. Nelson G. McCrea, Columbia University.
+  11. CATULLUS. Karl P. Harrington, Wesleyan University.
+  12. LUCRETIUS AND EPICUREANISM. George Depue Hadzsits, University of
+        Pennsylvania.
+  13. OVID. Edward K. Rand, Harvard University.
+  14. HORACE. Grant Showerman, University of Wisconsin.
+  15. VIRGIL. John William Mackail, Balliol College, Oxford.
+  16. SENECA. Richard Mott Gummere, The William Penn Charter School.
+  17. ROMAN HISTORIANS. G. Ferrero, Florence.
+  18. MARTIAL. Paul Nixon, Bowdoin College.
+  19. PLATONISM. Alfred Edward Taylor, University of Edinburgh.
+  20. ARISTOTELIANISM. John L. Stocks, University of Manchester,
+        Manchester.
+  21. Stoicism. Robert Mark Wenley, University of Michigan.
+  22. LANGUAGE AND PHILOLOGY. Roland G. Kent, University of
+        Pennsylvania.
+  23. RHETORIC AND LITERARY CRITICISM. (Greek) W. Rhys Roberts, Leeds
+        University.
+  24. GREEK RELIGION. Walter W. Hyde, University of Pennsylvania.
+  25. ROMAN RELIGION. Gordon J. Laing, University of Chicago.
+  26. MYTHOLOGIES. Jane Ellen Harrison, Newnham College, Cambridge.
+  27. THEORIES REGARDING THE IMMORTALITY OF THE SOUL. Clifford H. Moore,
+        Harvard University.
+  28. STAGE ANTIQUITIES. James T. Allen, University of California.
+  29. GREEK POLITICS. Ernest Barker, King's College, University of
+        London.
+  30. ROMAN POLITICS. Frank Frost Abbott, Princeton University.
+  31. ROMAN LAW. Roscoe Pound, Harvard Law School.
+  32. ECONOMICS AND SOCIETY. M.T. Rostovtzeff, Yale University.
+  33. WARFARE BY LAND AND SEA. E.S. McCartney, University of Michigan.
+  34. THE GREEK FATHERS. Roy J. Deferrari, The Catholic University of
+        America.
+  35. BIOLOGY AND MEDICINE. Henry Osborn Taylor, New York.
+  36. MATHEMATICS. David Eugene Smith, Teachers College, Columbia
+        University.
+  37. LOVE OF NATURE. H.R. Fairclough, Leland Stanford Junior
+        University.
+  38. ASTRONOMY AND ASTROLOGY. Franz Cumont, Brussels.
+  39. THE FINE ARTS. Arthur Fairbanks, Museum of Fine Arts, Boston.
+  40. ARCHITECTURE. Alfred M. Brooks, Swarthmore College.
+  41. ENGINEERING. Alexander P. Gest, Philadelphia.
+  42. GREEK PRIVATE LIFE, ITS SURVIVALS. Charles Burton Gulick, Harvard
+        University.
+  43. ROMAN PRIVATE LIFE, ITS SURVIVALS. Walton B. McDaniel, University
+        of Pennsylvania.
+  44. FOLK LORE.
+
+  45. GREEK AND ROMAN EDUCATION.
+
+  46. CHRISTIAN LATIN WRITERS. Andrew F. West, Princeton University.
+  47. ROMAN POETRY AND ITS INFLUENCE UPON EUROPEAN CULTURE. Paul Shorey,
+        University of Chicago.
+  48. PSYCHOLOGY.
+  49. MUSIC. Théodore Reinach, Paris.
+  50. ANCIENT AND MODERN ROME. Rodolfo Lanciani, Rome.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK HORACE AND HIS INFLUENCE***
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+<h1 class="pg">The Project Gutenberg eBook, Horace and His Influence, by Grant Showerman</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Horace and His Influence</p>
+<p>Author: Grant Showerman</p>
+<p>Release Date: October 4, 2005  [eBook #16801]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK HORACE AND HIS INFLUENCE***</p>
+<p>&nbsp;</p>
+<h3 class="pg">E-text prepared by Marilynda Fraser-Cunliffe, Leonard Johnson,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (https://www.pgdp.net/)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="ctr">
+<p><b>Our Debt to Greece and Rome</b></p>
+
+
+<p>EDITORS</p>
+
+<p><span class="sc">George Depue Hadzsits, Ph.D.</span></p>
+
+<p><i>University of Pennsylvania</i></p>
+
+<p><span class="sc">David Moore Robinson, Ph.D., LL.D.</span></p>
+
+<p><i>The Johns Hopkins University</i></p>
+
+<div class="ctr">
+   <a id="logo" name="logo"></a>
+   <img class="plain" src="images/logo.png"
+      alt="University of Pennsylvania."
+      title="University of Pennsylvania." />
+</div>
+
+
+
+<p><a id="Page_ii" name="Page_ii"></a><span class="pagenum">ii</span></p>
+
+<p>CONTRIBUTORS TO THE "OUR DEBT TO
+GREECE AND ROME FUND," WHOSE
+GENEROSITY HAS MADE POSSIBLE
+THE LIBRARY</p>
+
+<h3><b>Our Debt to Greece and Rome</b></h3>
+</div>
+<p>  <i>Philadelphia</i></p>
+<ul class="list">
+<li>  <span class="sc">Dr. Astley P.C. Ashhurst</span></li>
+<li>  <span class="sc">William L. Austin</span></li>
+<li>  <span class="sc">John C. Bell</span></li>
+<li>  <span class="sc">Henry H. Bonnell</span></li>
+<li>  <span class="sc">Jasper Yeates Brinton</span></li>
+<li>  <span class="sc">George Burnham, Jr.</span></li>
+<li>  <span class="sc">John Cadwalader</span></li>
+<li>  <span class="sc">Miss Clara Comegys</span></li>
+<li>  <span class="sc">Miss Mary E. Converse</span></li>
+<li>  <span class="sc">Arthur G. Dickson</span></li>
+<li>  <span class="sc">William M. Elkins</span></li>
+<li>  <span class="sc">H.H. Furness, Jr.</span></li>
+<li>  <span class="sc">William P. Gest</span></li>
+<li>  <span class="sc">John Gribbel</span></li>
+<li>  <span class="sc">Samuel F. Houston</span></li>
+<li>  <span class="sc">Charles Edward Ingersoll</span></li>
+<li>  <span class="sc">John Story Jenks</span></li>
+<li>  <span class="sc">Alba B. Johnson</span></li>
+<li>  <span class="sc">Miss Nina Lea</span></li>
+<li>  <span class="sc">Horatio G. Lloyd</span></li>
+<li>  <span class="sc">George McFadden</span></li>
+<li>  <span class="sc">Mrs. John Markoe</span></li>
+<li>  <span class="sc">Jules E. Mastbaum</span></li>
+<li>  <span class="sc">J. Vaughan Merrick</span></li>
+<li>  <span class="sc">Effingham B. Morris</span></li>
+<li>  <span class="sc">William R. Murphy</span></li>
+<li>  <span class="sc">John S. Newbold</span></li>
+<li>  <span class="sc">S. Davis Page</span> (<i>memorial</i>)</li>
+<li>  <span class="sc">Owen J. Roberts</span></li>
+<li>  <span class="sc">Joseph G. Rosengarten</span></li>
+<li>  <span class="sc">William C. Sproul</span></li>
+<li>  <span class="sc">John B. Stetson, Jr.</span></li>
+<li>  <span class="sc">Dr. J. William White</span> (<i>memorial</i>)</li>
+<li>  <span class="sc">George D. Widener</span></li>
+<li>  <span class="sc">Mrs. James D. Winsor</span></li>
+<li>  <span class="sc">Owen Wister</span></li>
+<li>  The Philadelphia Society for the Promotion of Liberal Studies.</li>
+</ul>
+<p>  <i>Boston</i></p>
+<ul class="list">
+<li>  <span class="sc">Oric Bates</span> (<i>memorial</i>)</li>
+<li>  <span class="sc">Frederick P. Fish</span></li>
+<li>  <span class="sc">William Amory Gardner</span></li>
+<li>  <span class="sc">Joseph Clark Hoppin</span></li>
+</ul>
+<p>      <i>Chicago</i></p>
+<ul class="list">
+<li>  <span class="sc">Herbert W. Wolff</span></li>
+</ul>
+<p>      <i>Cincinnati</i></p>
+<ul class="list">
+<li>  <span class="sc">Charles Phelps Taft</span></li>
+</ul>
+<p>      <i>Cleveland</i></p>
+<ul class="list">
+<li>  <span class="sc">Samuel Mather</span></li>
+</ul>
+<p>      <i>Detroit</i></p>
+<ul class="list">
+<li>  <span class="sc">John W. Anderson</span></li>
+<li>  <span class="sc">Dexter M. Ferry, Jr.</span></li>
+</ul>
+<p>      <i>Doylestown, Pennsylvania</i></p>
+<ul class="list">
+<li>  "<span class="sc">A Lover of Greece and Rome</span>"</li>
+</ul>
+<p>      <i>New York</i></p>
+<ul class="list">
+<li>  <span class="sc">John Jay Chapman</span></li>
+<li>  <span class="sc">Willard V. King</span></li>
+<li>  <span class="sc">Thomas W. Lamont</span></li>
+<li>  <span class="sc">Dwight W. Morrow</span></li>
+<li>  <span class="sc">Mrs. D.W. Morrow</span></li>
+<li>  <i>Senatori Societatis Philosophiae</i>, <ins class="corr" title="Greek: PhBK">&#934;&#914;&#922;</ins>, <i>gratias maximas agimus</i></li>
+<li>  <span class="sc">Elihu Root</span></li>
+<li>  <span class="sc">Mortimer L. Schiff</span></li>
+<li>  <span class="sc">William Sloane</span></li>
+<li>  <span class="sc">George W. Wickersham</span></li>
+<li>  And one contributor, who has asked to have his name withheld:</li>
+<li>  <i>Maecenas atavis edite regibus,</i></li>
+<li>  <i>O et praesidium et dulce decus meum.</i></li>
+</ul>
+<p>      <i>Washington</i></p>
+<ul class="list">
+<li>  The Greek Embassy at Washington, for the Greek Government.</li>
+</ul>
+
+<p><a id="Page_iv" name="Page_iv"></a><span class="pagenum">iv</span></p>
+
+<div class="ctr">
+<h1>HORACE<br />
+AND HIS INFLUENCE</h1>
+
+
+<p>BY<br />
+GRANT SHOWERMAN</p>
+
+<p><i>Professor of Classics</i><br />
+<i>The University of Wisconsin</i></p>
+
+<br /><br />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p>GEORGE G. HARRAP &amp; CO., LTD.<br />
+LONDON · CALCUTTA · SYDNEY</p>
+
+<br /><br />
+
+<p><a id="Page_v" name="Page_v"></a><span class="pagenum">v</span></p>
+
+<p>THE PLIMPTON PRESS · NORWOOD · MASSACHUSETTS</p>
+<p>&nbsp;</p>
+<h4>1922</h4>
+<p><a id="Page_vi" name="Page_vi"></a><span class="pagenum">vi</span></p>
+
+
+<br /><br /><br /><br />
+
+
+<p><i>To</i><br />
+HOWARD LESLIE SMITH<br />
+LOVER OF LETTERS</p>
+</div>
+<p><a id="Page_vii" name="Page_vii"></a><span class="pagenum">vii</span></p>
+<hr class="minor" />
+<p><a id="Page_viii" name="Page_viii"></a><span class="pagenum">viii</span></p>
+
+<div class="poem">
+<h4>SABINE HILLS</h4>
+
+<div class="stanza">
+<div class="i0">  O<i>n Sabine hills when melt the snows</i>,</div>
+<div class="i0">  S<i>till level-full His river flows</i>;</div>
+<div class="i0">  E<i>ach April now His valley fills</i></div>
+<div class="i0">  W<i>ith cyclamen and daffodils</i>;</div>
+<div class="i1">  A<i>nd summers wither with the rose</i>.</div>
+</div>
+
+
+<div class="stanza">
+<div class="i0">  S<i>wift-waning moons the cycle close</i>:</div>
+<div class="i0">  B<i>irth,&#8212;toil,&#8212;mirth,&#8212;death; life onward goes</i></div>
+<div class="i0">  T<i>hrough harvest heat or winter chills</i></div>
+<div class="i1">        O<i>n Sabine hills</i>.</div>
+</div>
+
+
+
+<div class="stanza">
+<div class="i0">  Y<i>et One breaks not His long repose</i>,</div>
+<div class="i0">  N<i>or hither comes when Zephyr blows</i>;</div>
+<div class="i0">  I<i>n vain the spring's first swallow trills</i>;</div>
+<div class="i0">  N<i>ever again that Presence thrills</i>;</div>
+<div class="i0">  O<i>ne charm no circling season knows</i></div>
+<div class="i1">        O<i>n Sabine hills</i>.</div>
+
+<p class="cite">                          GEORGE MEASON WHICHER
+<a id="Page_ix" name="Page_ix"></a><span class="pagenum">ix</span>
+
+<br /><br /><br /><br /></p>
+</div>
+</div>
+
+
+
+<h2>EDITORS' PREFACE</h2>
+
+
+<p>The volume on Horace and His Influence
+by Doctor Showerman is the
+second to appear in the Series, known
+as "Our Debt to Greece and Rome."</p>
+
+<p>Doctor Showerman has told the story of
+this influence in what seems to us the most
+effective manner possible, by revealing the
+spiritual qualities of Horace and the reasons
+for their appeal to many generations of men.
+These were the crown of the personality and
+work of the ancient poet, and admiration of
+them has through successive ages always been
+a token of aspiration and of a striving for
+better things.</p>
+
+<p>The purpose of the volumes in this Series
+will be to show the influence of virtually all of
+the great forces of the Greek and Roman civilizations
+upon subsequent life and thought and
+the extent to which these are interwoven into
+the fabric of our own life of to-day. Thereby
+we shall all know more clearly the nature of
+our inheritance from the past and shall comprehend
+<a id="Page_x" name="Page_x"></a><span class="pagenum">x</span>
+more steadily the currents of our own
+life, their direction and their value. This is,
+we take it, of considerable importance for life
+as a whole, whether for correct thinking or for
+true idealism.</p>
+
+<p>The supremacy of Horace within the limits
+that he set for himself is no fortuity, and the
+miracle of his achievement will always remain
+an inspiration for some. But it is not as a
+distant ideal for a few, but as a living and vital
+force for all, that we should approach him; and
+to assist in this is the aim of our little volume.</p>
+
+<p>The significance of Horace to the twentieth
+century will gain in clarity from an understanding
+of his meaning to other days. We
+shall discover that the eternal verity of his
+message, whether in ethics or in art, comes to
+<i>us</i> with a very particular challenge, warning
+and cry.
+<a id="Page_xi" name="Page_xi"></a><span class="pagenum">xi</span></p>
+
+
+
+
+<h2>CONTENTS</h2>
+
+<ul class="TOC">
+  <li>CHAPTER                                              <span class="ralign">PAGE</span></li>
+  <li>
+    <ul>
+      <li>    <span class="sc">Contributors to the Fund</span>                      <span class="ralign"><a href="#Page_ii">ii</a></span></li>
+      <li>    <span class="sc">Sabine Hills</span>                                 <span class="ralign"><a href="#Page_vii">vii</a></span></li>
+      <li>    <span class="sc">Editors' Preface</span>                              <span class="ralign"><a href="#Page_ix">ix</a></span></li>
+      <li>    <span class="sc">Introduction: The Dynamism of the Few</span>       <span class="ralign"><a href="#Page_xiii">xiii</a></span></li>
+    </ul>
+  </li>
+  <li>  I. <span class="sc">Horace Interpreted</span>
+    <ul>
+      <li>The Appeal of Horace                                 <span class="ralign"><a href="#Page_003">3</a></span></li>
+      <li>1. Horace the Person                                 <span class="ralign"><a href="#Page_006">6</a></span></li>
+      <li>2. Horace the Poet                                   <span class="ralign"><a href="#Page_009">9</a></span></li>
+      <li>3. Horace the Interpreter of His Times
+        <ul>
+          <li>Horace the Duality                               <span class="ralign"><a href="#Page_023">23</a></span></li>
+          <li>  i. The Interpreter of Italian Landscape       <span class="ralign"><a href="#Page_025">25</a></span></li>
+          <li> ii. The Interpreter of Italian Living          <span class="ralign"><a href="#Page_028">28</a></span></li>
+          <li>iii. The Interpreter of Roman Religion          <span class="ralign"><a href="#Page_031">31</a></span></li>
+          <li> iv. The Interpreter of the Popular Wisdom      <span class="ralign"><a href="#Page_035">35</a></span></li>
+          <li>Horace and Hellenism                             <span class="ralign"><a href="#Page_038">38</a></span></li>
+        </ul>
+      </li>
+      <li>4. Horace the Philosopher of Life
+        <ul>
+          <li>Horace the Spectator and Essayist                <span class="ralign"><a href="#Page_039">39</a></span></li>
+          <li>  i. The Vanity of Human Wishes                 <span class="ralign"><a href="#Page_044">44</a></span></li>
+          <li> ii. The Pleasures of this World                <span class="ralign"><a href="#Page_049">49</a></span></li>
+          <li>iii. Life and Morality                          <span class="ralign"><a href="#Page_054">54</a></span></li>
+          <li> iv. Life and Purpose                          <span class="ralign"><a href="#Page_059">59</a></span></li>
+          <li>  v. The Sources of Happiness                   <span class="ralign"><a href="#Page_062">62</a></span></li>
+        </ul>
+      </li>
+    </ul>
+  </li>
+  <li>II. <span class="sc">Horace Through the Ages</span>
+    <ul>
+      <li>Introductory                                         <span class="ralign"><a href="#Page_069">69</a></span></li>
+      <li>1. Horace the Prophet                              <span class="ralign"><a href="#Page_070">70</a></span></li>
+      <li>2. Horace and Ancient Rome                        <span class="ralign"><a href="#Page_075">75</a></span></li>
+      <li>3. Horace and the Middle Age                       <span class="ralign"><a href="#Page_087">87</a></span></li>
+      <li>4. Horace and Modern Times
+        <ul>
+         <li>The Rebirth of Horace                         <span class="ralign"><a href="#Page_104">104</a></span></li>
+         <li>  i. In Italy                                 <span class="ralign"><a href="#Page_106">106</a></span></li>
+         <li> ii. In France                               <span class="ralign"><a href="#Page_114">114</a></span></li>
+         <li>iii. In Germany                               <span class="ralign"><a href="#Page_115">115</a></span></li>
+         <li> iv. In Spain                               <span class="ralign"><a href="#Page_118">118</a></span></li>
+         <li>  v. In England                               <span class="ralign"><a href="#Page_121">121</a></span></li>
+         <li> vi. In the Schools                              <span class="ralign"><a href="#Page_126">126</a></span></li>
+        </ul>
+      </li>
+    </ul>
+  </li>
+  <li>III. <span class="sc">Horace the Dynamic</span>
+    <ul>
+      <li>The Cultivated Few                               <span class="ralign"><a href="#Page_127">127</a></span></li>
+      <li>1. Horace and the Literary Ideal                <span class="ralign"><a href="#Page_131">131</a></span></li>
+      <li>2. Horace and Literary Creation
+        <ul>
+          <li> i. The Translator's Ideal                   <span class="ralign"><a href="#Page_136">136</a></span></li>
+          <li>ii. Creation                                 <span class="ralign"><a href="#Page_143">143</a></span></li>
+        </ul>
+      </li>
+      <li>3. Horace in the Living of Men                   <span class="ralign"><a href="#Page_152">152</a></span></li>
+    </ul>
+  </li>
+  <li>IV. <span class="sc">Conclusion</span>                               <span class="ralign"><a href="#Page_168">168</a></span></li>
+  <li>
+    <ul>
+      <li><span class="sc">Notes and Bibliography</span>                  <span class="ralign"><a href="#Page_171">171</a></span></li>
+    </ul>
+  </li>
+</ul>
+<p><a id="Page_xiii" name="Page_xiii" class="pagenum">xiii</a></p>
+
+
+
+
+<h2>INTRODUCTION: THE DYNAMISM<br />
+OF THE FEW</h2>
+
+
+<p>To those who stand in the midst of
+times and attempt to grasp their meaning,
+civilization often seems hopelessly
+complicated. The myriad and mysterious interthreading
+of motive and action, of cause and
+effect, presents to the near vision no semblance
+of a pattern, and the whole web is so confused
+and meaningless that the mind grows to doubt
+the presence of design, and becomes skeptical
+of the necessity, or even the importance, of any
+single strand.</p>
+
+<p>Yet civilization is on the whole a simple and
+easily understood phenomenon. This is true
+most apparently of that part of the human
+family of which Europe and the Americas form
+the principal portion, and whose influences have
+made themselves felt also in remote continents.
+If to us it is less apparently true of the world
+outside our western civilization, the reason lies
+in the fact that we are not in possession of
+equal facilities for the exercise of judgment.
+<a id="Page_xiv" name="Page_xiv"></a><span class="pagenum">xiv</span></p>
+
+<p>We are all members one of another, and the
+body which we form is a consistent and more
+or less unchanging whole. There are certain
+elemental facts which underlie human society
+wherever it has advanced to a stage deserving
+the name of civilization. There is the intellectual
+impulse, with the restraining influence of
+reason upon the relations of men. There is
+the active desire to be in right relation with
+the unknown, which we call religion. There is
+the attempt at the beautification of life, which
+we call art. There is the institution of property.
+There is the institution of marriage.
+There is the demand for the purity of woman.
+There is the insistence upon certain decencies
+and certain conformities which constitute what
+is known as morality. There is the exchange of
+material conveniences called commerce, with
+its necessary adjunct, the sanctity of obligation.
+In a word, there are the universal and eternal
+verities.</p>
+
+<p>Farther, if what we may call the constitution
+of civilization is thus definite, its physical limits
+are even more clearly defined. Civilization is
+a matter of centers. The world is not large,
+and its government rests upon the shoulders of
+the few. The metropolis is the index of capacity
+<a id="Page_xv" name="Page_xv"></a><span class="pagenum">xv</span>
+for good and ill in a national civilization.
+Its culture is representative of the common life
+of town and country.</p>
+
+<p>It follows that the history of civilization is
+a history of the famous gathering-places of
+men. The story of human progress in the West
+is the story of Memphis, Thebes, Babylon,
+Nineveh, Cnossus, Athens, Alexandria, Rome,
+and of medieval, Renaissance, and modern
+capitals. History is a stream, in the remoter
+antiquity of Egypt and Mesopotamia confined
+within narrow and comparatively definite
+banks, gathering in volume and swiftness as it
+flows through Hellenic lands, and at last expanding
+into the broad and deep basin of
+Rome, whence its current, dividing, leads
+away in various channels to other ample
+basins, perhaps in the course of time to reunite
+at some great meeting of waters in the New
+World. To one afloat in the swirl of contradictory
+eddies, it may be difficult to judge of the
+whence and whither of the troubled current,
+but the ascent of the stream and the exploration
+of the sources of literature and the arts,
+of morals, politics, and religion, of commerce
+and mechanics, is on the whole no difficult
+adventure.
+<a id="Page_xvi" name="Page_xvi"></a><span class="pagenum">xvi</span></p>
+
+<p>Finally, civilization is not only a matter of
+local habitation, but a matter of individual
+men. The great city is both determined by, and
+determines, its environment; the great man is
+the product, and in turn the producer, of the
+culture of his nation. The human race is gregarious
+and sequacious, rather than individual
+and adventurous. Progress depends upon the
+initiative of spirited and gifted men, rather
+than upon the tardy movement of the mass,
+upon idea rather than force, upon spirit rather
+than matter.</p>
+
+<p>I preface my essay with these reflections
+because there may be readers at first thought
+skeptical of even modest statements regarding
+Horace as a force in the history of our culture
+and a contributor to our life today. It is only
+when the continuity of history and the essential
+simplicity and constancy of civilization are
+understood that the direct and vital connection
+between past and present is seen, and the mind
+is no longer startled and incredulous when the
+historian records that the Acropolis has had
+more to do with the career of architecture than
+any other group of buildings in the world, or
+that the most potent influence in the history of
+prose is the Latin of Cicero, or that poetic
+<a id="Page_xvii" name="Page_xvii"></a><span class="pagenum">xvii</span>
+expression is more choice and many men appreciably
+saner and happier because of a
+Roman poet dead now one thousand nine
+hundred and thirty years.
+<a id="Page_003" name="Page_003"></a><span class="pagenum">003</span></p>
+
+
+
+<h1>HORACE AND HIS<br />
+INFLUENCE</h1>
+
+
+
+
+<h2>I. HORACE INTERPRETED</h2>
+
+<h3><span class="sc">The Appeal of Horace</span></h3>
+
+
+<p>In estimating the effect of Horace
+upon his own and later times, we must take
+into account two aspects of his work.
+These are, the forms in which he expressed
+himself, and the substance of which they are
+the garment. We shall find him distinguished
+in both; but in the substance of his message
+we shall find him distinguished by a quality
+which sets him apart from other poets ancient
+and modern.</p>
+
+<p>This distinctive quality lies neither in the
+originality nor in the novelty of the Horatian
+message, which, as a matter of fact, is surprisingly
+familiar, and perhaps even commonplace.
+It lies rather in the appealing manner and mood
+of its communication. It is a message living
+and vibrant.
+<a id="Page_004" name="Page_004"></a><span class="pagenum">004</span></p>
+
+<p>The reason for this is that in Horace we
+have, above all, a person. No poet speaks
+from the page with greater directness, no poet
+establishes so easily and so completely the personal
+relation with the reader, no poet is remembered
+so much as if he were a friend in the
+flesh. In this respect, Horace among poets is
+a parallel to Thackeray in the field of the novel.
+What the letters of Cicero are to the intrigue
+and turmoil of politics, war, and the minor joys
+and sorrows of private and social life in the
+last days of the Republic, the lyrics and "Conversations"
+of Horace are to the mood of the
+philosophic mind of the early Empire. Both
+are lights which afford us a clear view of interiors
+otherwise but faintly illuminated. They
+are priceless interpreters of their times. In
+modern times, we make environment interpret
+the poet. We understand a Tennyson, a
+Milton, or even a Shakespeare, from our knowledge
+of the world in which he lived. In the
+case of antiquity, the process is reversed. We
+reconstruct the times of Caesar and Augustus
+from fortunate acquaintance with two of the
+most representative men who ever possessed
+the gift of literary genius.</p>
+
+<p>It is because Horace's appeal depends so
+<a id="Page_005" name="Page_005"></a><span class="pagenum">005</span>
+largely upon his qualities as a person that our
+interpretation of him must center about his
+personal traits. We shall re-present to the
+imagination his personal appearance. We shall
+account for the personal qualities which contributed
+to the poetic gift that set him apart as
+the interpreter of the age to his own and succeeding
+generations. We shall observe the
+natural sympathy with men and things by
+reason of which he reflects with peculiar faithfulness
+the life of city and country. We shall
+become acquainted with the thoughts and the
+moods of a mind and heart that were nicely
+sensitive to sight and sound and personal contact.
+We shall hear what the poet has to say
+of himself not only as a member of the human
+family, but as the user of the pen.</p>
+
+<p>This interpretation of Horace as person and
+poet will be best attempted from his own work,
+and best expressed in his own phrase. The
+pages which follow are a manner of Horatian
+mosaic. They contain little not said or suggested
+by the poet himself.
+<a id="Page_006" name="Page_006"></a><span class="pagenum">006</span></p>
+
+
+
+<h3>1. <span class="sc">Horace the Person</span></h3>
+
+<p>Horace was of slight stature among even
+a slight-statured race. At the period when
+we like him best, when he was growing
+mellower and better with advancing years,
+his black hair was more than evenly mingled
+with grey. The naturally dark and probably
+not too finely-textured skin of face and
+expansive forehead was deepened by the
+friendly breezes of both city and country
+to the vigorous golden brown of the Italian.
+Feature and eye held the mirror up to a spirit
+quick to anger but plenteous in good-nature.
+Altogether, Horace was a short, rotund man,
+smiling but serious, of nothing very remarkable
+either in appearance or in manner, and with a
+look of the plain citizen. Of all the ancients
+who have left no material likeness, he is the
+least difficult to know in person.</p>
+
+<p>We see him in a carriage or at the shows with
+Maecenas, the Emperor's fastidious counsellor.
+We have charming glimpses of him enjoying in
+company the hospitable shade of huge pine
+and white poplar on the grassy terrace of some
+rose-perfumed Italian garden with noisy fountain
+and hurrying stream. He loiters, with eyes
+<a id="Page_007" name="Page_007"></a><span class="pagenum">007</span>
+bent on the pavement, along the winding
+Sacred Way that leads to the Forum, or on his
+way home struggles against the crowd as it
+pushes its way down town amid the dust and
+din of the busy city. He shrugs his shoulders
+in good-humored despair as the sirocco brings
+lassitude and irritation from beyond the Mediterranean,
+or he sits huddled up in some village
+by the sea, shivering with the winds from the
+Alps, reading, and waiting for the first swallow
+to herald the spring.</p>
+
+<p>We see him at a mild game of tennis in the
+broad grounds of the Campus Martius. We
+see him of an evening vagabonding among the
+nameless common folk of Rome, engaging in
+small talk with dealers in small merchandise.
+He may look in upon a party of carousing
+friends, with banter that is not without reproof.
+We find him lionized in the homes of the first
+men of the city in peace and war, where he
+mystifies the not too intellectual fair guests with
+graceful and provokingly passionless gallantry.
+He sits at ease with greater enjoyment under
+the opaque vine and trellis of his own garden.
+He appears in the midst of his household as it
+bustles with preparation for the birthday feast
+of a friend, or he welcomes at a less formal
+<a id="Page_008" name="Page_008"></a><span class="pagenum">008</span>
+board and with more unrestrained joy the beloved
+comrade-in-arms of Philippi, prolonging
+the genial intercourse</p>
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "T<i>ill Phoebus the red East unbars</i></div>
+<div class="i0">   A<i>nd puts to rout the trembling stars</i>."</div>
+</div></div>
+
+<p>Or we see him bestride an indifferent nag,
+cantering down the Appian Way, with its
+border of tombs, toward the towering dark-green
+summits of the Alban Mount, twenty
+miles away, or climbing the winding white road
+to Tivoli where it reclines on the nearest slope
+of the Sabines, and pursuing the way beyond it
+along the banks of headlong Anio where it
+rushes from the mountains to join the Tiber.
+We see him finally arrived at his Sabine farm,
+the gift of Maecenas, standing in tunic-sleeves
+at his doorway in the morning sun, and contemplating
+with thankful heart valley and hill-side
+opposite, and the cold stream of Digentia
+in the valley-bottom below. We see him rambling
+about the wooded uplands of his little
+estate, and resting in the shade of a decaying
+rustic temple to indite a letter to the friend
+whose not being present is all that keeps him
+from perfect happiness. He participates with
+the near-by villagers in the joys of the rural
+<a id="Page_009" name="Page_009"></a><span class="pagenum">009</span>
+holiday. He mingles homely philosophy and
+fiction with country neighbors before his own
+hearth in the big living-room of the farm-house.</p>
+
+<p>Horace's place is not among the dim and uncertain
+figures of a hoary antiquity. Only give
+him modern shoes, an Italian cloak, and a walking-stick,
+instead of sandals and toga, and he
+may be seen on the streets of Rome today.
+Nor is he less modern in character and bearing
+than in appearance. We discern in his composition
+the same strange and seemingly contradictory
+blend of the grave and gay, the lively
+and severe, the constant and the mercurial,
+the austere and the trivial, the dignified and the
+careless, that is so baffling to the observer of
+Italian character and conduct today.</p>
+
+
+
+<h3>2. <span class="sc">Horace the Poet</span></h3>
+
+<p>To understand how Horace came to be a
+great poet as well as an engaging person, it
+is necessary to look beneath this somewhat
+commonplace exterior, and to discern the
+spiritual man.</p>
+
+<p>The foundations of literature are laid in life.
+For the production of great poetry two conditions
+are necessary. There must be, first, an
+<a id="Page_010" name="Page_010"></a><span class="pagenum">010</span>
+age pregnant with the celestial fires of deep
+emotion. Second, there must be in its midst
+one of the rare men whom we call inspired.
+He must be of such sensitive spiritual fiber
+as to vibrate to every breeze of the national
+passion, of such spiritual capacity as to assimilate
+the common thoughts and moods of the
+time, of such fine perception and of such sureness
+of command over word, phrase, and
+rhythm, as to give crowning expression to what
+his soul has made its own.</p>
+
+<p>For abundance of stirring and fertilizing
+experience, history presents few equals of the
+times when Horace lived. His lifetime fell in
+an age which was in continual travail with
+great and uncertain movement. Never has
+Fortune taken greater delight in her bitter and
+insolent game, never displayed a greater pertinacity
+in the derision of men. In the period
+from Horace's birth at Venusia in southeastern
+Italy, on December 8, <span class="sc">b.c.</span> 65, to November
+27, <span class="sc">b.c.</span> 8, when</p>
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "M<i>ourned of men and Muses nine</i>,</div>
+<div class="i0">   T<i>hey laid him on the Esquiline</i>,"</div>
+</div></div>
+
+<p class="zero">there occurred the series of great events, to
+men in their midst incomprehensible, bewildering,
+<a id="Page_011" name="Page_011"></a><span class="pagenum">011</span>
+and disheartening, which after times could
+readily interpret as the inevitable change from
+the ancient and decaying Republic to the better
+knit if less free life of the Empire.</p>
+
+<p>We are at an immense distance, and the
+differences have long since been composed.
+The menacing murmur of trumpets is no longer
+audible, and the seas are no longer red with
+blood. The picture is old, and faded, and darkened,
+and leaves us cold, until we illuminate it
+with the light of imagination. Then first we
+see, or rather feel, the magnitude of the time:
+its hatreds and its selfishness; its differences of
+opinion, sometimes honest and sometimes disingenuous,
+but always maintained with the heat
+of passion; its divisions of friends and families;
+its lawlessness and violence; its terrifying uncertainties
+and adventurous plunges; its tragedies
+of confiscation, murder, fire, proscription,
+feud, insurrection, riot, war; the dramatic exits
+of the leading actors in the great play,&#8212;of
+Catiline at Pistoria, of Crassus in the eastern
+deserts, of Clodius at Bovillae within sight of
+the gates of Rome, of Pompey in Egypt, of
+Cato in Africa, of Caesar, Servius Sulpicius,
+Marcellus, Trebonius and Dolabella, Hirtius
+and Pansa, Decimus Brutus, the Ciceros,
+<a id="Page_012" name="Page_012"></a><span class="pagenum">012</span>
+Marcus Brutus and Cassius, Sextus the son of
+Pompey, Antony and Cleopatra,&#8212;as one after
+another</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "S<i>trutted and fretted his hour upon the stage</i>,</div>
+<div class="i0">   A<i>nd then was heard no more</i>."</div>
+</div></div>
+
+<p>It is in relief against a background such as
+this that Horace's works should be read,&#8212;the
+<i>Satires</i>, published in 35 and 30, which the
+poet himself calls <i>Sermones</i>, "Conversations,"
+"Talks," or <i>Causeries</i>; the collection of lyrics
+called <i>Epodes</i>, in 29; three books of <i>Odes</i> in
+23; a book of <i>Epistles</i>, or further <i>Causeries</i>, in
+20; the <i>Secular Hymn</i> in 17; a second book of
+<i>Epistles</i> in 14; a fourth book of <i>Odes</i> in 13;
+and a final <i>Epistle</i>, <i>On the Art of Poetry</i>, at a
+later and uncertain date.</p>
+
+<p>It is above all against such a background
+that Horace's invocation to Fortune should be
+read:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  G<i>oddess, at lovely Antium is thy shrine</i>:</div>
+<div class="i0">  R<i>eady art thou to raise with grace divine</i></div>
+<div class="i0">  O<i>ur mortal frame from lowliest dust of earth</i>,</div>
+<div class="i0">  O<i>r turn triumph to funeral for thy mirth</i>;</div>
+</div></div>
+
+
+<p class="zero">or that other expression of the inscrutable uncertainty
+of the human lot:
+<a id="Page_013" name="Page_013"></a><span class="pagenum">013</span></p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  F<i>ortune, whose joy is e'er our woe and shame</i>,</div>
+<div class="i0">  W<i>ith hard persistence plays her mocking game</i>;</div>
+<div class="i0">  B<i>estowing favors all inconstantly</i>,</div>
+<div class="i0">  K<i>indly to others now, and now to me</i>.</div>
+<div class="i0">  W<i>ith me, I praise her; if her wings she lift</i></div>
+<div class="i0">  T<i>o leave me, I resign her every gift</i>,</div>
+<div class="i0">  A<i>nd, cloaked about in my own virtue's pride</i>,</div>
+<div class="i0">  W<i>ed honest poverty, the dowerless bride</i>.</div>
+</div></div>
+
+
+<p>Horace is not here the idle singer of an
+empty day. His utterance may be a universal,
+but in the light of history it is no commonplace.
+It is the eloquent record of the life of Rome in
+an age which for intensity is unparalleled in
+the annals of the ancient world.</p>
+
+<p>And yet men may live a longer span of years
+than fell to the lot of Horace, and in times no
+less pregnant with event, and still fail to come
+into really close contact with life. Horace's
+experience was comprehensive, and touched the
+life of his generation at many points. He was
+born in a little country town in a province
+distant from the capital. His father, at one
+time a slave, and always of humble calling,
+was a man of independent spirit, robust sense,
+and excellent character, whose constant and
+intimate companionship left everlasting gratitude
+in the heart of the son. He provided for
+<a id="Page_014" name="Page_014"></a><span class="pagenum">014</span>
+the little Horace's education at first among the
+sons of the "great" centurions who constituted
+the society of the garrison-town of Venusia,
+afterwards ambitiously took him to Rome to
+acquire even the accomplishments usual among
+the sons of senators, and finally sent him to
+Athens, garner of wisdom of the ages, where the
+learning of the past was constantly made to
+live again by masters with the quick Athenian
+spirit of telling or hearing new things.</p>
+
+<p>The intellectual experience of Horace's
+younger days was thus of the broadest character.
+Into it there entered and were blended the
+shrewd practical understanding of the Italian
+provincial; the ornamental accomplishments of
+the upper classes; the inspiration of Rome's
+history, with the long line of heroic figures that
+appear in the twelfth <i>Ode</i> of the first book like
+a gallery of magnificent portraits; first-hand
+knowledge of prominent men of action and
+letters; unceasing discussion of questions of
+the day which could be avoided by none; and,
+finally, humanizing contact on their own soil
+with Greek philosophy and poetry, Greek
+monuments and history, and teachers of racial
+as well as intellectual descent from the greatest
+people of the past.
+<a id="Page_015" name="Page_015"></a><span class="pagenum">015</span></p>
+
+<p>But Horace's experience assumed still
+greater proportions. He passed from the university
+of Athens to the larger university
+of life. The news of Caesar's death at the
+hands of the "Liberators," which reached
+him as a student there at the age of twenty-one,
+and the arrival of Brutus some months
+after, stirred his young blood. As an officer
+in the army of Brutus, he underwent the
+hardships of the long campaign, enriching life
+with new friendships formed in circumstances
+that have always tightened the friendly
+bond. He saw the disastrous day of Philippi,
+narrowly escaped death by shipwreck, and on
+his return to Italy and Rome found himself
+without father or fortune.</p>
+
+<p>Nor was the return to Rome the end of his
+education. In the interval which followed,
+Horace's mind, always of philosophic bent,
+was no doubt busy with reflection upon the
+disparity between the ideals of the liberators
+and the practical results of their actions, upon
+the difference between the disorganized, anarchical
+Rome of the civil war and the gradually
+knitting Rome of Augustus, and upon the
+futility of presuming to judge the righteousness
+either of motives or means in a world
+<a id="Page_016" name="Page_016"></a><span class="pagenum">016</span>
+where men, to say nothing of understanding
+each other, could not understand themselves.
+In the end, he accepted what was not to be
+avoided. He went farther than acquiescence.
+The growing conviction among thoughtful
+men that Augustus was the hope of Rome found
+lodgment also in his mind. He gravitated from
+negative to positive. His value as an educated
+man was recognized, and he found himself at
+twenty-four in possession of the always coveted
+boon of the young Italian, a place in the government
+employ. A clerkship in the treasury
+gave him salary, safety, respectability, a considerable
+dignity, and a degree of leisure.</p>
+
+<p>Of the leisure he made wise use. Still in
+the afterglow of his Athenian experience, he
+began to write. He attracted the attention of
+a limited circle of associates. The personal
+qualities which made him a favorite with the
+leaders of the Republican army again served
+him well. He won the recognition and the
+favor of men who had the ear of the ruling few.
+In about 33, when he was thirty-two years
+old, Maecenas, the appreciative counsellor,
+prompted by Augustus, the politic ruler, who
+recognized the value of talent in every field for
+his plans of reconstruction, made him independent
+<a id="Page_017" name="Page_017"></a><span class="pagenum">017</span>
+of money-getting, and gave him currency
+among the foremost literary men of the city.
+He triumphed over the social prejudice against
+the son of a freedman, disarmed the jealousy
+of literary rivals, and was assured of fame
+as well as favor.</p>
+
+<p>Nor was even this the end of Horace's experience
+with the world of action. It may be
+that his actual participation in affairs did cease
+with Maecenas's gift of the Sabine farm, and it
+is true that he never pretended to live on their
+own ground the life of the high-born and rich,
+but he nevertheless associated on sympathetic
+terms with men through whom he felt all the
+activities and ideals of the class most representative
+of the national life, and past experiences
+and natural adaptability enabled him to
+assimilate their thoughts and emotions.</p>
+
+<p>Thanks to the glowing personal nature of
+Horace's works, we know who many of these
+friends and patrons were who so enlarged his
+vision and deepened his inspiration. Almost
+without exception his poems are addressed or
+dedicated to men with whom he was on terms of
+more than ordinary friendship. They were
+rare men,&#8212;fit audience, though few; men of
+experience in affairs at home and in the field,
+<a id="Page_018" name="Page_018"></a><span class="pagenum">018</span>
+men of natural taste and real cultivation, of
+broad and sane outlook, of warm heart and
+deep sympathies. There was Virgil, whom he
+calls the half of his own being. There was
+Plotius, and there was Varius, bird of Maeonian
+song, whom he ranks with the singer of the
+<i>Aeneid</i> himself as the most luminously pure of
+souls on earth. There was Quintilius, whose
+death was bewailed by many good men;&#8212;when
+would incorruptible Faith and Truth find
+his equal? There was Maecenas, well-bred and
+worldly-wise, the pillar and ornament of his
+fortunes. There was Septimius, the hoped-for
+companion of his mellow old age in the little
+corner of earth that smiled on him beyond all
+others. There was Iccius, procurator of Agrippa's
+estates in Sicily, sharing Horace's delight
+in philosophy. There was Agrippa himself, son-in-law
+of Augustus, grave hero of battles and
+diplomacy. There was elderly Trebatius, sometime
+friend of Cicero and Caesar, with dry
+legal humor early seasoned in the wilds of
+Gaul. There were Pompeius and Corvinus,
+old-soldier friends with whom he exchanged
+reminiscences of the hard campaign. There
+was Messalla, a fellow-student at Athens, and
+Pollio, soldier, orator, and poet. There were
+<a id="Page_019" name="Page_019"></a><span class="pagenum">019</span>
+Julius Florus and other members of the ambitious
+literary cohort in the train of Tiberius.
+There was Aristius Fuscus, the watch of whose
+wit was ever wound and ready to strike. There
+was Augustus himself, busy administrator of
+a world, who still found time for letters.</p>
+
+<p>It is through the medium of personalities like
+these that Horace's message was delivered to
+the world of his time and to later generations.
+How far the finished elegance of his expression
+is due to their discriminating taste, and how
+much of the breadth and sanity of his content
+is due to their vigor of character and cosmopolitan
+culture, we may only conjecture. Literature
+is not the product of a single individual.
+The responsive and stimulating audience is
+hardly less needful than the poet's inspiration.</p>
+
+<p>Such were the variety and abundance of
+Horace's experience. It was large and human.
+He had touched life high and low, bond and
+free, public and private, military and civil, provincial
+and urban, Hellenic, Asiatic, and Italian,
+urban and rustic, ideal and practical, at the
+cultured court and among the ignorant, but not
+always unwise, common people.</p>
+
+<p>And yet, numbers of men possessed of experience
+as abundant have died without being
+<a id="Page_020" name="Page_020"></a><span class="pagenum">020</span>
+poets, or even wise men. Their experience
+was held in solution, so to speak, and
+failed to precipitate. Horace's experience did
+precipitate. Nature gave him the warm and
+responsive soul by reason of which he became
+a part of all he met. Unlike most of his associates
+among the upper classes to which he rose,
+his sympathies could include the freedman, the
+peasant, and the common soldier. Unlike most
+of the multitude from which he sprang, he
+could extend his sympathies to the careworn
+rich and the troubled statesman. He had
+learned from his own lot and from observation
+that no life was wholly happy, that the cares of
+the so-called fortunate were only different from,
+not less real than, those of the ordinary man,
+that every human heart had its chamber furnished
+for the entertainment of Black Care,
+and that the chamber was never without its
+guest.</p>
+
+<p>But not even the precipitate of experience
+called wisdom will alone make the poet.
+Horace was again endowed by nature with
+another and rarer and equally necessary gift,&#8212;the
+sense of artistic expression. It would be
+waste of time to debate how much he owed to
+native genius, how much to his own laborious
+<a id="Page_021" name="Page_021"></a><span class="pagenum">021</span>
+patience, and how much to the good fortune
+of generous human contact. He is surely to be
+classed among examples of what for want of
+a better term we call inspiration. The poet <i>is</i>
+born. We may account for the inspiration of
+Horace by supposing him of Greek descent (as
+if Italy had never begotten poets of her own),
+but the mystery remains. In the case of any
+poet, after everything has been said of the usual
+influences, there is always something left to be
+accounted for only on the ground of genius.
+It was the possession of this that set Horace
+apart from other men of similar experience.</p>
+
+<p>The poet, however, is not the mere accident
+of birth. Horace is aware of a power not himself
+that makes for poetic righteousness, and
+realizes the mystery of inspiration. The Muse
+cast upon him at birth her placid glance. He
+expects glory neither on the field nor in the
+course, but looks to song for his triumphs. To
+Apollo,</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "L<i>ord of the enchanting shell</i>,</div>
+<div class="i0">   P<i>arent of sweet and solemn-breathing airs</i>,"</div>
+</div></div>
+
+
+<p class="zero">who can give power of song even unto the
+mute, he owes all his power and all his fame.
+It is the gift of Heaven that he is pointed out
+<a id="Page_022" name="Page_022"></a><span class="pagenum">022</span>
+by the finger of the passer-by as the minstrel of
+the Roman lyre, that he breathes the divine
+fire and pleases men. But he is as perfectly appreciative
+of the fact that poets are born and
+also made, and condemns the folly of depending
+upon inspiration unsupported by effort. He
+calls himself the bee of Matinum, industriously
+flitting with honeyed thigh about the banks
+of humid Tibur. What nature begins, cultivation
+must develop. Neither training without
+the rich vein of native endowment, nor
+natural talent without cultivation, will suffice;
+both must be friendly conspirators in the process
+of forming the poet. Wisdom is the beginning
+and source of writing well. He who would
+run with success the race that is set before
+him must endure from boyhood the hardships
+of heat and cold, and abstain from women and
+wine. The gift of God must be made perfect
+by the use of the file, by long waiting, and by
+conscious intellectual discipline.
+<a id="Page_023" name="Page_023"></a><span class="pagenum">023</span></p>
+
+
+
+<h3>3. <span class="sc">Horace the Interpreter
+of His Times</span></h3>
+
+<h4>HORACE THE DUALITY</h4>
+
+<p>Varied as were Horace's experiences, they
+were mainly of two kinds, and there are two
+Horaces who reflect them. There is a more
+natural Horace, simple and direct, of ordinary
+Italian manners and ideals, and a less natural
+Horace, finished in the culture of Greece and
+the artificialities of life in the capital. They
+might be called the unconventional and the
+conventional Horace.</p>
+
+<p>This duality is only the reflection of the two-fold
+experience of Horace as the provincial
+village boy and as the successful literary man
+of the city. The impressions received from
+Venusia and its simple population of hard-working,
+plain-speaking folk, from the roaring
+Aufidus and the landscape of Apulia, from the
+freedman father's common-sense instruction as
+he walked about in affectionate companionship
+with his son, never faded from Horace's mind.
+The ways of the city were superimposed upon
+the ways of the country, but never displaced
+<a id="Page_024" name="Page_024"></a><span class="pagenum">024</span>
+nor even covered them. They were a garment
+put on and off, sometimes partly hiding, but
+never for long, the original cloak of simplicity.
+It is not necessary to think its wearer insincere
+when, constrained by social circumstance, he
+put it on. As in most dualities not consciously
+assumed, both Horaces were genuine. When
+Davus the slave reproaches his master for longing,
+while at Rome, to be back in the country,
+and for praising the attractions of the city,
+while in the country, it is not mere discontent
+or inconsistency in Horace which he is attacking.
+Horace loved both city and country.</p>
+
+<p>And yet, whatever the appeal of the city and
+its artificialities, Horace's real nature called for
+the country and its simple ways. It is the
+Horace of Venusia and the Sabines who is the
+more genuine of the two. The more formal
+poems addressed to Augustus and his house-hold
+sometimes sound the note of affectation,
+but the most exacting critic will hesitate to
+bring a like charge against the odes which celebrate
+the fields and hamlets of Italy and the
+prowess of her citizen-soldiers of time gone by,
+or against the mellow epistles and lyrics in
+which the poet philosophizes upon the spectacle
+of human life.
+<a id="Page_025" name="Page_025"></a><span class="pagenum">025</span></p>
+
+
+<h4><i>i</i>. THE INTERPRETER OF ITALIAN
+LANDSCAPE</h4>
+
+<p>The real Horace is to be found first of all as
+the interpreter of the beauty and fruitfulness
+of Italy. It is no land of mere literary imagination
+which he makes us see with such clear-cut
+distinctness. It is not an Italy in Theocritean
+colors, like the Italy of Virgil's <i>Bucolics</i>, but
+the Italy of Horace's own time, the Italy of
+his own birth and experience, and the Italy of
+today. Horace is not a descriptive poet. The
+reader will look in vain for nature-poems in
+the modern sense. With a word or a phrase
+only, he flashes upon our vision the beautiful,
+the significant, the permanent in the scenery of
+Italy. The features which he loved best, or
+which for other reasons caught his eye, are
+those that we still see. There are the oak and
+the opaque ilex, the pine and the poplar, the
+dark, funereal cypress, the bright flower of the
+too-short-lived rose, and the sweet-scented bed
+of violets. There are the olive groves of Venafrum.
+Most lovely of sights and most beautiful
+of figures, there is the purple-clustered vine
+of vari-colored autumn wedded to the elm.
+There is the bachelor plane-tree. There are
+<a id="Page_026" name="Page_026"></a><span class="pagenum">026</span>
+the long-horned, grey-flanked, dark-muzzled,
+liquid-eyed cattle, grazing under the peaceful
+skies of the Campagna or enjoying in the
+meadow their holiday freedom from the plow;
+the same cattle that Carducci sings&#8212;</p>
+
+
+
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "I<i>n the grave sweetness of whose tranquil eyes</i></div>
+<div class="i0">   O<i>f emerald, broad and still reflected, dwells</i></div>
+<div class="i0">  A<i>ll the divine green silence of the plain</i>."</div>
+</div></div>
+
+<p class="zero">We are made to see the sterile rust on the
+corn, and to feel the blazing heat of dog-days,
+when not a breath stirs as the languid shepherd
+leads his flock to the banks of the stream. The
+sunny pastures of Calabria lie spread before
+us, we see the yellow Tiber at flood, the rushing
+Anio, the deep eddyings of Liris' taciturn
+stream, the secluded valleys of the Apennines,
+the leaves flying before the wind at the coming
+of winter, the snow-covered uplands of the
+Alban hills, the mead sparkling with hoar-frost
+at the approach of spring, autumn rearing from
+the fields her head decorous with mellow fruits,
+and golden abundance pouring forth from a
+full horn her treasures upon the land. It is
+real Italy which Horace cuts on his cameos,&#8212;real
+landscape, real flowers and fruits, real
+men.
+<a id="Page_027" name="Page_027"></a><span class="pagenum">027</span></p>
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "What joy there is in these songs!"</div>
+</div></div>
+
+<p class="zero">writes Andrew Lang, in <i>Letters to Dead
+Authors</i>, "what delight of life, what an exquisite
+Hellenic grace of art, what a manly nature
+to endure, what tenderness and constancy of
+friendship, what a sense of all that is fair in
+the glittering stream, the music of the water-fall,
+the hum of bees, the silvery gray of the
+olive woods on the hillside! How human are
+all your verses, Horace! What a pleasure is
+yours in the straining poplars, swaying in the
+wind! What gladness you gain from the white
+crest of Soracte, beheld through the fluttering
+snowflakes while the logs are being piled higher
+on the hearth!... None of the Latin poets
+your fellows, or none but Virgil, seem to me to
+have known as well as you, Horace, how happy
+and fortunate a thing it was to be born in
+Italy. You do not say so, like your Virgil, in
+one splendid passage, numbering the glories of
+the land as a lover might count the perfections
+of his mistress. But the sentiment is ever in
+your heart, and often on your lips. 'Me neither
+resolute Sparta nor the rich Larissaean plain so
+enraptures as the fane of echoing Albunea, the
+headlong Anio, the grove of Tibur, the orchards
+<a id="Page_028" name="Page_028"></a><span class="pagenum">028</span>
+watered by the wandering rills.' So a poet
+should speak, and to every singer his own land
+should be dearest. Beautiful is Italy, with the
+grave and delicate outlines of her sacred hills,
+her dark groves, her little cities perched like
+eyries on the crags, her rivers gliding under
+ancient walls: beautiful is Italy, her seas and
+her suns."</p>
+
+
+<h4><i>ii</i>. THE INTERPRETER OF ITALIAN LIVING</h4>
+
+<p>Again, in its visualization of the life of Italy,
+Horace's art is no less clear than in the presentation
+of her scenery. Where else may be
+seen so many vivid incidental pictures of men
+at their daily occupations of work or play? In
+<i>Satire</i> and <i>Epistle</i> this is to be expected, though
+there are satirists and writers of letters who
+never transfer the colors of life to their canvas;
+but the lyrics, too, are kaleidoscopic with
+scenes from the daily round of human life.
+We are given fleeting but vivid glimpses into
+the career of merchant and sailor. We see
+the sportsman in chase of the boar, the rustic
+setting snares for the greedy thrush, the serenader
+under the casement, the plowman at his
+ingleside, the anxious mother at the window on
+<a id="Page_029" name="Page_029"></a><span class="pagenum">029</span>
+the cliff, never taking her eyes from the curved
+shore, the husbandman passing industrious days
+on his own hillside, tilling his own acres with
+his own oxen, and training the vine to the unwedded
+tree, the young men of the hill-towns
+carrying bundles of fagots along rocky slopes,
+the rural holiday and its festivities, the sun-browned
+wife making ready the evening meal
+against the coming of the tired peasant. We
+are shown all the quaint and quiet life of the
+countryside.</p>
+
+<p>The page is often golden with homely precept
+or tale of the sort which for all time has
+been natural to farmer folk. There is the story
+of the country mouse and the town mouse, the
+fox and the greedy weasel that ate until he
+could not pass through the crack by which he
+came, the rustic who sat and waited for the
+river to get by, the horse that called man to aid
+him against the stag, and received the bit forever.
+The most formal and dignified of the
+<i>Odes</i> are not without the mellow charm of
+Italian landscape and the genial warmth of
+Italian life. Even in the first six <i>Odes</i> of the
+third book, often called the <i>Inaugural Odes</i>,
+we get such glimpses as the vineyard and the
+hailstorm, the Campus Martius on election day,
+<a id="Page_030" name="Page_030"></a><span class="pagenum">030</span>
+the soldier knowing no fear, cheerful amid
+hardships under the open sky, the restless
+Adriatic, the Bantine headlands and the low-lying
+Forentum of the poet's infancy, the babe
+in the wood of Voltur, the Latin hill-towns, the
+craven soldier of Crassus, and the stern patriotism
+of Regulus. Without these the <i>Inaugurals</i>
+would be but barren and cold, to say
+nothing of the splendid outburst against the
+domestic degradation of the time, so full of
+color and heat and picturesqueness:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote"> 'T<i>was not the sons of parents such as these</i></div>
+<div class="i0">  T<i>hat tinged with Punic blood the rolling seas</i>,</div>
+<div class="i0">  L<i>aid low the cruel Hannibal, and brought</i></div>
+<div class="i0">  G<i>reat Pyrrhus and Antiochus to naught</i>;</div>
+
+</div><div class="stanza">
+<div class="i0">  B<i>ut the manly brood of rustic soldier folk</i>,</div>
+<div class="i0">  T<i>aught, when the mother or the father spoke</i></div>
+<div class="i0">  T<i>he word austere, obediently to wield</i></div>
+<div class="i0">  T<i>he heavy mattock in the Sabine field</i>,</div>
+
+</div><div class="stanza">
+<div class="i0">  O<i>r cut and bear home fagots from the height</i>,</div>
+<div class="i0">  A<i>s mountain shadows deepened into night</i>,</div>
+<div class="i0">  A<i>nd the sun's car, departing down the west</i>,</div>
+<div class="i0">  B<i>rought to the wearied steer the friendly rest</i>.</div>
+</div></div>
+<p><a id="Page_031" name="Page_031"></a><span class="pagenum">031</span></p>
+
+
+<h4><i>iii</i>. THE INTERPRETER OF ROMAN RELIGION</h4>
+
+<p>Still farther, Horace is an eloquent interpreter
+of the religion of the countryside. He
+knows, of course, the gods of Greece and the
+East,&#8212;Venus of Cythera and Paphos, of Eryx
+and Cnidus, Mercury, deity of gain and benefactor
+of men, Diana, Lady of the mountain
+and the glade, Delian Apollo, who bathes his
+unbound locks in the pure waters of Castalia,
+and Juno, sister and consort of fulminating
+Jove. He is impressed by the glittering pomp
+of religious processions winding their way
+to the summit of the Capitol. In all this, and
+even in the emperor-worship, now in its first
+stages at Rome and more political than religious,
+he acquiesces, though he may himself be
+a sparing frequenter of the abodes of worship.
+For him, as for Cicero, religion is one of the
+social and civic proprieties, a necessary part of
+the national mechanism.</p>
+
+<p>But the great Olympic deities do not really
+stir Horace's enthusiasm, or even evoke his
+warm sympathy. The only <i>Ode</i> in which he
+prays to one of them with really fervent heart
+stands alone among all the odes to the national
+gods. He petitions the great deity of healing
+<a id="Page_032" name="Page_032"></a><span class="pagenum">032</span>
+and poetry for what we know is most precious
+to him:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "W<i>hen, kneeling at Apollo's shrine</i>,</div>
+<div class="i1">    T<i>he bard from silver goblet pours</i></div>
+<div class="i0">  L<i>ibations due of votive wine</i>,</div>
+<div class="i1">    W<i>hat seeks he, what implores</i>?</div>
+</div>
+<div class="stanza">
+<div class="quote">  "N<i>ot harvests from Sardinia's shore</i>;</div>
+<div class="i1">    N<i>ot grateful herds that crop the lea</i></div>
+<div class="i0">  I<i>n hot Calabria; not a store</i></div>
+<div class="i1">    O<i>f gold, and ivory</i>;</div>
+</div>
+<div class="stanza">
+<div class="quote">  "N<i>ot those fair lands where slow and deep</i></div>
+<div class="i1">    T<i>hro' meadows rich and pastures gay</i></div>
+<div class="i0">  T<i>hy silent waters, Liris, creep</i>,</div>
+<div class="i1">    E<i>ating the marge away</i>.</div>
+</div>
+<div class="stanza">
+<div class="quote">  "L<i>et him to whom the gods award</i></div>
+<div class="i1">    C<i>alenian vineyards prune the vine</i>;</div>
+<div class="i0">  T<i>he merchant sell his balms and nard</i>,</div>
+<div class="i1">    A<i>nd drain the precious wine</i></div>
+</div>
+<div class="stanza">
+<div class="quote">  "F<i>rom cups of gold&#8212;to Fortune dear</i></div>
+<div class="i1">    B<i>ecause his laden argosy</i></div>
+<div class="i0">  C<i>rosses, unshattered, thrice a year</i></div>
+<div class="i1">    T<i>he storm-vexed Midland sea</i>.</div>
+</div>
+<p><a id="Page_033" name="Page_033"></a><span class="pagenum">033</span></p>
+
+
+<div class="stanza">
+<div class="quote">  "R<i>ipe berries from the olive bough</i>,</div>
+<div class="i1">    M<i>allows and endives, be my fare</i>.</div>
+<div class="i0">  S<i>on of Latona, hear my vow!</i></div>
+<div class="i1">    A<i>pollo, grant my prayer!</i></div>
+</div>
+<div class="stanza">
+<div class="quote">  "H<i>ealth to enjoy the blessings sent</i></div>
+<div class="i1">    F<i>rom heaven; a mind unclouded, strong</i>;</div>
+<div class="i0">  A<i> cheerful heart; a wise content</i>;</div>
+<div class="i1">    A<i>n honored age; and song</i>."</div>
+</div></div>
+
+<p>This is not the prayer of the city-bred formalist.
+It reflects the heart of humble breeding
+and sympathies. For the faith which really
+sets the poet aglow we must go into the fields
+and hamlets of Italy, among the householders
+who were the descendants of the long line of
+Italian forefathers that had worshiped from
+time immemorial the same gods at the same
+altars in the same way. They were not the
+gods of yesterday, imported from Greece and
+Egypt, and splendid with display, but the
+simple gods of farm and fold native to the soil
+of Italy. Whatever his conception of the
+logic of it all, Horace felt a powerful appeal
+as he contemplated the picturesqueness of the
+worship and the simplicity of the worshiper,
+and reflected upon its genuineness and purity
+as contrasted with what his worldly wisdom
+told him of the heart of the urban worshiper.
+<a id="Page_034" name="Page_034"></a><span class="pagenum">034</span></p>
+
+<p>Horace may entertain a well-bred skepticism
+of Jupiter's thunderbolt, and he may pass the
+jest on the indifference of the Epicurean gods
+to the affairs of men. When he does so, it is
+with the gods of mythology and literature he
+is dealing, not with really religious gods. For
+the old-fashioned faith of the country he entertains
+only the kindliest regard. The images
+that rise in his mind at the mention of religion
+pure and undefiled are not the gaudy spectacles
+to be seen in the marbled streets of the
+capital. They are images of incense rising in
+autumn from the ancient altar on the home-stead,
+of the feast of the Terminalia with its
+slain lamb, of libations of ruddy wine and offerings
+of bright flowers on the clear waters of
+some ancestral spring, of the simple hearth of
+the farmhouse, of the family table resplendent
+with the silver <i>salinum</i>, heirloom of generations,
+from which the grave paterfamilias
+makes the pious offering of crackling salt and
+meal to little gods crowned with rosemary and
+myrtle, of the altar beneath the pine to the Virgin
+goddess, of Faunus the shepherd-god, in the
+humor of wooing, roaming the sunny farmfields
+in quest of retreating wood-nymphs, of Priapus
+the garden-god, and Silvanus, guardian of
+<a id="Page_035" name="Page_035"></a><span class="pagenum">035</span>
+boundaries, and, most of all, and typifying all,
+of the faith of rustic Phidyle, with clean hands
+and a pure heart raising palms to heaven at the
+new of the moon, and praying for the full-hanging
+vine, thrifty fields of corn, and unblemished
+lambs. Of the religious life represented
+by these, Horace is no more tempted to
+make light than he is tempted to delineate the
+Italian rustic as De Maupassant does the
+French,&#8212;as an amusing animal, with just
+enough of the human in his composition to
+make him ludicrous.</p>
+
+
+<h4><i>iv</i>. THE INTERPRETER OF THE POPULAR
+WISDOM</h4>
+
+<p>Finally, in the homely, unconventional wisdom
+which fills <i>Satire</i> and <i>Epistle</i> and sparkles
+from the <i>Odes</i>, Horace is again the national
+interpreter. The masses of Rome or Italy had
+little consciously to do with either Stoicism or
+Epicureanism. Their philosophy was vigorous
+common sense, and was learned from living,
+not from conning books. Horace, too, for all
+his having been a student of formal philosophy
+in Athens, for all his professed faith in philosophy
+<a id="Page_036" name="Page_036"></a><span class="pagenum">036</span>
+as a boon for rich and poor and old and
+young, and for all his inclination to yield to the
+natural human impulse toward system and
+adopt the philosophy of one of the Schools, is
+a consistent follower of neither Stoic nor Epicurean.
+Both systems attracted him by their
+virtues, and both repelled him because of their
+weaknesses. His half-humorous confession of
+wavering allegiance is only a reflection of the
+shiftings of a mind open to the appeal of both:</p>
+
+<p>And, lest you inquire under what guide or
+to what hearth I look for safety, I will tell
+you that I am sworn to obedience in no
+master's formula, but am a guest in whatever
+haven the tempest sweeps me to. Now I am
+full of action and deep in the waves of civic
+life, an unswerving follower and guardian of
+the true virtue, now I secretly backslide to the
+precepts of Aristippus, and try to bend circumstance
+to myself, not myself to circumstance.</p>
+
+<p>Horace is either Stoic or Epicurean, or
+neither, or both. The character of philosophy
+depends upon definition of terms, and Epicureanism
+with Horace's definitions of pleasure and
+duty differed little in practical working from
+Stoicism. In profession, he was more of the
+Epicurean; in practice, more of the Stoic. His
+<a id="Page_037" name="Page_037"></a><span class="pagenum">037</span>
+philosophy occupies ground between both, or,
+rather, ground common to both. It admits of
+no name. It is not a system. It owes its resemblances
+to either of the Schools more to his
+own nature than to his familiarity with them,
+great as that was.</p>
+
+<p>The foundations of Horace's philosophy were
+laid before he ever heard of the Schools. Its
+basis was a habit of mind acquired by association
+with his father and the people of Venusia,
+and with the ordinary people of Rome. Under
+the influence of reading, study, and social converse
+at Athens, under the stress of experience
+in the field, and from long contemplation of
+life in the large in the capital of an empire, it
+crystallized into a philosophy of life. The term
+"philosophy" is misleading in Horace's case.
+It suggests books and formulae and externals.
+What Horace read in books did not all remain
+for him the dead philosophy of ink and paper;
+what was in tune with his nature he assimilated,
+to become philosophy in action, philosophy
+which really was the guide of life. His
+faith in it is unfeigned:</p>
+
+<p>Thus does the time move slowly and ungraciously
+which hinders me from the active
+realization of what, neglected, is a harm to
+<a id="Page_038" name="Page_038"></a><span class="pagenum">038</span>
+young and old alike.... The envious man,
+the ill-tempered, the indolent, the wine-bibber,
+the too free lover,&#8212;no mortal, in short, is so
+crude that his nature cannot be made more
+gentle if only he will lend a willing ear to cultivation.</p>
+
+<p>The occasional phraseology of the Schools
+which Horace employs should not mislead. It
+is for the most part the convenient dress for
+truth discovered for himself through experience;
+or it may be literary ornament. The
+humorous and not unsatiric lines to his poet-friend
+Albius Tibullus,&#8212;"when you want a
+good laugh, come and see me; you will find
+me fat and sleek and my skin well cared for,
+a pig from the sty of Epicurus,"&#8212;are as
+easily the jest of a Stoic as the confession of
+an Epicurean. Horace's philosophy is individual
+and natural, and representative of
+Roman common sense rather than any School.</p>
+
+
+<h4>HORACE AND HELLENISM</h4>
+
+<p>A word should be said here regarding the
+frequent use of the word "Hellenic" in connection
+with Horace's genius. Among the
+results of his higher education, it is natural
+<a id="Page_039" name="Page_039"></a><span class="pagenum">039</span>
+that none should be more prominent to the eye
+than the influence of Greek letters upon his
+work; but to call Horace Greek is to be blinded
+to the essential by the presence in his poems of
+Greek form and Greek allusion. It would be as
+little reasonable to call a Roman triumphal
+arch Greek because it displays column, architrave,
+or a facing of marble from Greece.
+What makes Roman architecture stand is not
+ornament, but Roman concrete and the Roman
+vault. Horace is Greek as Milton is Hebraic
+or Roman, or as Shakespeare is Italian.</p>
+
+
+
+<h3>4. <span class="sc">Horace the Philosopher of Life</span></h3>
+
+<h4>HORACE THE SPECTATOR AND ESSAYIST</h4>
+
+<p>A great source of the richness of personality
+which constitutes Horace's principal
+charm is to be found in his contemplative
+disposition. His attitude toward the universal
+drama is that of the onlooker. As we shall
+see, he is not without keen interest in the
+piece, but his prevailing mood is that of mild
+amusement. In time past, he has himself
+assumed more than one of the rôles, and has
+known personally many of the actors. He
+<a id="Page_040" name="Page_040"></a><span class="pagenum">040</span>
+knows perfectly well that there is a great
+deal of the mask and buskin on the stage of
+life, and that each man in his time plays many
+parts. Experience has begotten reflection, and
+reflection has contributed in turn to experience,
+until contemplation has passed from diversion
+to habit.</p>
+
+<p>Horace is another Spectator, except that his
+"meddling with any practical part in life" has
+not been so slight:</p>
+
+<p>Thus I live in the world rather as a Spectator
+of mankind than as one of the species,
+by which means I have made myself a speculative
+statesman, soldier, merchant, and artisan,
+without ever meddling with any practical
+part in life. I am very well versed in the
+theory of a husband, or a father, and can discern
+the errors in the economy, business, and
+diversion of others, better than those who are
+engaged in them: as standers-by discover blots
+which are apt to escape those who are in the
+game.</p>
+
+<p>He looks down from his post upon the life of
+men with as clear vision as Lucretius, whom he
+admires:</p>
+
+<p>Nothing is sweeter than to dwell in the
+lofty citadels secure in the wisdom of the sages,
+<a id="Page_041" name="Page_041"></a><span class="pagenum">041</span>
+thence to look down upon the rest of mankind
+blindly wandering in mistaken paths in the
+search for the way of life, striving one with
+another in the contest of wits, emulous in distinction
+of birth, night and day straining with
+supreme effort at length to arrive at the heights
+of power and become lords of the world.</p>
+
+<p>Farther, Horace is not merely the stander-by
+contemplating the game in which objective
+mankind is engaged. He is also a spectator
+of himself. Horace the poet-philosopher contemplates
+Horace the man with the same quiet
+amusement with which he surveys the human
+family of which he is an inseparable yet detachable
+part. It is the universal aspect of Horace
+which is the object of his contemplation,&#8212;Horace
+playing a part together with the rest
+of mankind in the infinitely diverting <i>comédie
+humaine</i>. He uses himself, so to speak, for
+illustrative purposes,&#8212;to point the moral of
+the genuine; to demonstrate the indispensability
+of hard work as well as genius; to afford
+concrete proof of the possibility of happiness
+without wealth. He is almost as objective to
+himself as the landscape of the Sabine farm.
+Horace the spectator sees Horace the man
+against the background of human life just as
+<a id="Page_042" name="Page_042"></a><span class="pagenum">042</span>
+he sees snow-mantled Soracte, or the cold Digentia,
+or the restless Adriatic, or leafy Tarentum,
+or snowy Algidus, or green Venafrum.
+The clear-cut elegance of his miniatures of
+Italian scenery is not due to their individual
+interest, but to their connection with the universal
+life of man. Description for its own
+sake is hardly to be found in Horace. In the
+same way, the vivid glimpses he affords of his
+own life, person, and character almost never
+prompt the thought of egotism. The most
+personal of poets, his expression of self nowhere
+becomes selfish expression.</p>
+
+<p>But there are spectators who are mere spectators.
+Horace is more; he is a critic and an
+interpreter. He looks forth upon life with
+a keen vision for comparative values, and
+gives sane and distinct expression to what he
+sees.</p>
+
+<p>Horace must not be thought of, however, as
+a censorious or carping critic. His attitude is
+judicial, and the verdict is seldom other than
+lenient and kindly. He is not a wasp of Twickenham,
+not a Juvenal furiously laying about
+him with a heavy lash, not a Lucilius with the
+axes of Scipionic patrons to grind, having at
+the leaders of the people and the people themselves. He
+<a id="Page_043" name="Page_043"></a><span class="pagenum">043</span>
+is in as little degree an Ennius,
+composing merely to gratify the taste for
+entertainment. There are some, as a matter
+of fact, to whom in satire he seems to go
+beyond the limit of good-nature. At vice in
+pronounced form, at all forms of unmanliness,
+he does indeed strike out, like Lucilius the
+knight of Campania, his predecessor and
+pattern, gracious only to virtue and to the
+friends of virtue; but those whose hands are
+clean and whose hearts are pure need fear nothing.
+Even those who are guilty of the ordinary
+frailties of human kind need fear nothing
+worse than being good-humoredly laughed at.
+The objects of Horace's smiling condemnation
+are not the trifling faults of the individual or
+the class, but the universal grosser stupidities
+which poison the sources of life.</p>
+
+<p>The Horace of the <i>Satires</i> and <i>Epistles</i> is
+better called an essayist. That he is a satirist
+at all is less by virtue of intention than because
+of the mere fact that he is a spectator. To
+look upon life with the eye of understanding is
+to see men the prey to passions and delusions,&#8212;the
+very comment on which can be nothing
+else than satire.</p>
+
+<p>And now, what is it that Horace sees as he
+<a id="Page_044" name="Page_044"></a><span class="pagenum">044</span>
+sits in philosophic detachment on the serene
+heights of contemplation; and what are his
+reflections?</p>
+
+<p>The great factor in the character of Horace
+is his philosophy of life. To define it is to
+give the meaning of the word Horatian as far
+as content is concerned, and to trace the thread
+which more than any other makes his works
+a unity.</p>
+
+
+<h4><i>i</i>. THE VANITY OF HUMAN WISHES</h4>
+
+<p>Horace looks forth upon a world of discontented
+and restless humanity. The soldier,
+the lawyer, the farmer, the trader, swept over
+the earth in the passion for gain, like dust in
+the whirlwind,&#8212;all are dissatisfied. Choose
+anyone you will from the midst of the throng;
+either with greed for money or with miserable
+ambition for power, his soul is in travail. Some
+are dazzled by fine silver, some lose their senses
+over bronze. Some are ever straining after the
+prizes of public life. There are many who love
+not wisely, but too well. Most are engaged in
+a mad race for money, whether to assure themselves
+of retirement and ease in old age, or out
+of the sportsman's desire to outstrip their rivals
+<a id="Page_045" name="Page_045"></a><span class="pagenum">045</span>
+in the course. As many as are mortal men, so
+many are the objects of their pursuit.</p>
+
+<p>And, over and about all men, by reason of
+their bondage to avarice, ambition, appetite,
+and passion, hovers Black Care. It flits above
+their sleepless eyes in the panelled ceiling of
+the darkened palace, it sits behind them on
+the courser as they rush into battle, it dogs
+them as they are at the pleasures of the bronze-trimmed
+yacht. It pursues them everywhere,
+swifter than the deer, swifter than the wind
+that drives before it the storm-cloud. Not
+even those who are most happy are entirely so.
+No lot is wholly blest. Perfect happiness is
+unattainable. Tithonus, with the gift of ever-lasting
+life, wasted away in undying old age.
+Achilles, with every charm of youthful strength
+and gallantry, was doomed to early death. Not
+even the richest are content. Something is
+always lacking in the midst of abundance, and
+desire more than keeps pace with satisfaction.</p>
+
+<p>Nor are the multitude less enslaved to their
+desires than the few. Glory drags bound to
+her glittering chariot-wheels the nameless as
+well as the nobly-born. The poor are as inconstant
+as the rich. What of the man who is
+not rich? You may well smile. He changes
+<a id="Page_046" name="Page_046"></a><span class="pagenum">046</span>
+from garret to garret, from bed to bed, from
+bath to bath and barber to barber, and is just
+as seasick in a hired boat as the wealthy man
+on board his private yacht.</p>
+
+<p>And not only are all men the victims of
+insatiable desire, but all are alike subject to the
+uncertainties of fate. Insolent Fortune without
+notice flutters her swift wings and leaves
+them. Friends prove faithless, once the cask
+is drained to the lees. Death, unforeseen and
+unexpected, lurks in ambush for them in a
+thousand places. Some are swallowed up by
+the greedy sea. Some the Furies give to destruction
+in the grim spectacle of war. Without
+respect of age or person, the ways of death
+are thronged with young and old. Cruel
+Proserpina passes no man by.</p>
+
+<p>Even they who for the time escape the
+object of their dread must at last face the
+inevitable. Invoked or not invoked, Death
+comes to release the lowly from toil, and to
+strip the proud of power. The same night
+awaits all; everyone must tread once for all
+the path of death. The summons is delivered
+impartially at the hovels of the poor and the
+turreted palaces of the rich. The dark stream
+must be crossed by prince and peasant alike.
+<a id="Page_047" name="Page_047"></a><span class="pagenum">047</span>
+Eternal exile is the lot of all, whether nameless
+and poor, or sprung of the line of Inachus:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  A<i>las! my Postumus, alas! how speed</i></div>
+<div class="i0">  T<i>he passing years: nor can devotion's deed</i></div>
+<div class="i0">  S<i>tay wrinkled age one moment on its way</i>,</div>
+<div class="i0">  N<i>or stay one moment death's appointed day</i>;</div>
+</div>
+<div class="stanza">
+<div class="i0">  N<i>ot though with thrice a hundred oxen slain</i></div>
+<div class="i0">  E<i>ach day thou prayest Pluto to refrain</i>,</div>
+<div class="i0">  T<i>he unmoved by tears, who threefold Geryon drave</i>,</div>
+<div class="i0">  A<i>nd Tityus, beneath the darkening wave</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>he wave we all must one day surely sail</i></div>
+<div class="i0">  W<i>ho live and breathe within this mortal vale</i>,</div>
+<div class="i0">  W<i>hether our lot with princely rich to fare</i>,</div>
+<div class="i0">  W<i>hether the peasant's lowly life to share</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  I<i>n vain for us from murderous Mars to flee</i>,</div>
+<div class="i0">  I<i>n vain to shun the storms of Hadria's sea</i>,</div>
+<div class="i0">  I<i>n vain to fear the poison-laden breath</i></div>
+<div class="i0">  O<i>f Autumn's sultry south-wind, fraught with death</i>;</div>
+</div>
+<div class="stanza">
+<div class="i0">  A<i>down the wandering stream we all must go</i>,</div>
+<div class="i0">  A<i>down Cocytus' waters, black and slow</i>;</div>
+<div class="i0">  T<i>he ill-famed race of Danaus all must see</i>,</div>
+<div class="i0">  A<i>nd Sisyphus, from labors never free</i>.</div>
+</div>
+<p><a id="Page_048" name="Page_048"></a><span class="pagenum">048</span></p>
+
+
+<div class="stanza">
+<div class="i0">  A<i>ll must be left,&#8212;lands, home, beloved wife</i>,&#8212;</div>
+<div class="i0">  A<i>ll left behind when we have done with life</i>;</div>
+<div class="i0">  O<i>ne tree alone, of all thou holdest dear</i>,</div>
+<div class="i0">  S<i>hall follow thee,&#8212;the cypress, o'er thy bier!</i></div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>hy wiser heir will soon drain to their lees</i></div>
+<div class="i0">  T<i>he casks now kept beneath a hundred keys</i>;</div>
+<div class="i0">  T<i>he proud old Caecuban will stain the floor</i>,</div>
+<div class="i0">  M<i>ore fit at pontiffs' solemn feasts to pour</i>.</div>
+</div></div>
+
+<p>Nor is there a beyond filled with brightness
+for the victim of fate to look to. Orcus is unpitying.
+Mercury's flock of souls is of sable
+hue, and Proserpina's realm is the hue of the
+dusk. Black Care clings to poor souls even
+beyond the grave. Dull and persistent, it is
+the only substantial feature of the insubstantial
+world of shades. Sappho still sighs there
+for love of her maiden companions, the plectrum
+of Alcaeus sounds its chords only to songs
+of earthly hardships by land and sea, Prometheus
+and Tantalus find no surcease from the
+pangs of torture, Sisyphus ever rolls the
+returning stone, and the Danaids fill the ever-emptying
+jars.
+<a id="Page_049" name="Page_049"></a><span class="pagenum">049</span></p>
+
+
+<h4><i>ii</i>. THE PLEASURES OF THIS WORLD</h4>
+
+<p>The picture is dark with shadow, and must
+be relieved with light and color. The hasty
+conclusion should not be drawn that this is the
+philosophy of gloom. The tone of Horace is
+neither that of the cheerless skeptic nor that of
+the despairing pessimist. He does not rise
+from his contemplation with the words or the
+feeling of Lucretius:</p>
+
+<p>O miserable minds of men, O blind hearts!
+In what obscurity and in what dangers is passed
+this uncertain little existence of yours!</p>
+
+<p>He would have agreed with the philosophy of
+pessimism that life contains striving and pain,
+but he would not have shared in the gloom
+of a Schopenhauer, who in all will sees action,
+in all action want, in all want pain, who looks
+upon pain as the essential condition of will,
+and sees no end of suffering except in the surrender
+of the will to live. The vanity of human
+wishes is no secret to Horace, but life
+is not to him "a soap-bubble which we blow
+out as long and as large as possible, though
+each of us knows perfectly well it must sooner
+or later burst."</p>
+
+<p>No, life may have its inevitable pains and
+<a id="Page_050" name="Page_050"></a><span class="pagenum">050</span>
+its inevitable end, but it is far more substantial
+in composition than a bubble. For those who
+possess the secret of detecting and enjoying
+them, it contains solid goods in abundance.</p>
+
+<p>What is the secret?</p>
+
+<p>The first step toward enjoyment of the human
+lot is acquiescence. Of course existence
+has its evils and bitter end, but these are minimized
+for the man who frankly faces them,
+and recognizes the futility of struggling against
+the fact. How much better to endure whatever
+our lot shall impose. Quintilius is dead:
+it is hard; but patience makes lighter the ill
+that fate will not suffer us to correct.</p>
+
+<p>And then, when we have once yielded, and
+have ceased to look upon perfect happiness as
+a possibility, or upon any measure of happiness
+as a right to be demanded, we are in position
+to take the second step; namely, to make wise
+use of life's advantages:</p>
+
+<div class="poem"><div class="stanza">
+<div class="i0">  M<i>id all thy hopes and all thy cares, mid all thy wraths and fears</i>,</div>
+<div class="i0">  T<i>hink every shining day that dawns the period to thy years</i>.</div>
+<div class="i0">  T<i>he hour that comes unlooked for is the hour that doubly cheers</i>.</div>
+</div></div>
+<p><a id="Page_051" name="Page_051"></a><span class="pagenum">051</span></p>
+
+<p>Because there are many things to make life
+a pleasure. There is the solace of literature;
+Black Care is lessened by song. There are
+the riches of philosophy, there is the diversion
+of moving among men. There are the
+delights of the country and the town. Above
+all, there are friends with whom to share the
+joy of mere living in Italy. For what purpose,
+if not to enjoy, are the rose, the pine, and the
+poplar, the gushing fountain, the generous wine
+of Formian hill and Massic slope, the villa by
+the Tiber, the peaceful and healthful seclusion
+of the Sabines, the pleasing change from the
+sharp winter to the soft zephyrs of spring,
+the apple-bearing autumn,&#8212;"season of
+mists and mellow fruitfulness"? What need
+to be unhappy in the midst of such a
+world?</p>
+
+<p>And the man who is wise will not only recognize
+the abounding possibilities about him, but
+will seize upon them before they vanish. Who
+knows whether the gods above will add a tomorrow
+to the to-day? Be glad, and lay hand upon
+the gifts of the passing hour! Take advantage
+of the day, and have no silly faith in the
+morrow. It is as if Omar were translating
+Horace:
+<a id="Page_052" name="Page_052"></a><span class="pagenum">052</span></p>
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "W<i>aste not your Hour, nor in the vain pursuit</i></div>
+<div class="i0">  0<i>f This and That endeavor and dispute;</i></div>
+<div class="i1">      B<i>etter be jocund with the fruitful Grape</i></div>
+<div class="i0">  T<i>han sadden after none, or bitter, Fruit.</i></div>
+</div>
+<div class="stanza">
+<div class="quote">  "A<i>h! fill the Cup: what boots it to repeat</i></div>
+<div class="i0">  H<i>ow Time is slipping underneath our Feet:</i></div>
+<div class="i1">      U<i>nborn tomorrow, and dead yesterday,</i></div>
+<div class="i0">  W<i>hy fret about them if today be sweet!"</i></div>
+</div></div>
+<p>The goods of existence must be enjoyed here
+and now, or never, for all must be left behind.
+What once is enjoyed is forever our very own.
+Happy is the man who can say, at each day's
+close, "I have lived!" The day is his, and
+cannot be recalled. Let Jove overcast with
+black cloud the heavens of to-morrow, or let
+him make it bright with clear sunshine,--as he
+pleases; what the flying hour of to-day has
+already given us he never can revoke. Life
+is a stream, now gliding peacefully onward in
+mid-channel to the Tuscan sea, now tumbling
+upon its swirling bosom the wreckage of flood
+and storm. The pitiful human being on its
+banks, ever looking with greedy expectation
+up the stream, or with vain regret at what is
+past, is left at last with nothing at all. The
+part of wisdom and of happiness is to keep
+<a id="Page_053" name="Page_053"></a><span class="pagenum">053</span>
+eyes on that part of the stream directly before
+us, the only part which is ever really seen.</p>
+
+<div class="poem"><div class="stanza">
+<div class="i0">  Y<i>ou see how, deep with gleaming snow,</i></div>
+<div class="i0">  S<i>oracte stands, and, bending low,</i></div>
+<div class="i1">    Y<i>on branches droop beneath their burden,</i></div>
+<div class="i2">      A<i>nd streams o'erfrozen have ceased their flow.</i></div>
+</div>
+<div class="stanza">
+<div class="i0">  A<i>way with cold! the hearth pile high</i></div>
+<div class="i0">  W<i>ith blazing logs; the goblet ply</i></div>
+<div class="i1">    W<i>ith cheering Sabine, Thaliarchus;</i></div>
+<div class="i2">      D<i>raw from the cask of long years gone by.</i></div>
+</div>
+<div class="stanza">
+<div class="i0">  A<i>ll else the gods entrust to keep,</i></div>
+<div class="i0">  W<i>hose nod can lull the winds to sleep,</i></div>
+<div class="i1">    V<i>exing the ash and cypress agèd,</i></div>
+<div class="i2">      O<i>r battling over the boiling deep.</i></div>
+</div>
+<div class="stanza">
+<div class="i0">  S<i>eek not to pierce the morrow's haze,</i></div>
+<div class="i0">  B<i>ut for the moment render praise;</i></div>
+<div class="i1">    N<i>or spurn the dance, nor love's sweet passion,</i></div>
+<div class="i2">      E<i>re age draws on with its joyless days.</i></div>
+</div>
+<div class="stanza">
+<div class="i0">  N<i>ow should the campus be your joy,</i></div>
+<div class="i0">  A<i>nd whispered loves your lips employ,</i></div>
+<div class="i1">    W<i>hat time the twilight shadows gather,</i></div>
+<div class="i2">      A<i>nd tryst you keep with the maiden coy.</i></div>
+<a id="Page_054" name="Page_054"></a><span class="pagenum">054</span>
+</div>
+
+<div class="stanza">
+<div class="i0">  F<i>rom near-by nook her laugh makes plain</i></div>
+<div class="i0">  W<i>here she had meant to hide, in vain!</i></div>
+<div class="i1">    H<i>ow arch her struggles o'er the token</i></div>
+<div class="i2">      F<i>rom yielding which she can scarce refrain!</i></div>
+</div></div>
+
+
+<h4><i>iii</i>. LIFE AND MORALITY</h4>
+
+<p>But Horace's Epicureanism never goes to
+the length of Omar's. He would have shrunk
+from the Persian as extreme:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "<span class="sc">Yesterday</span> <i>This Day's Madness did prepare</i>,</div>
+<div class="i0">  <span class="sc">Tomorrow's</span> <i>Silence, Triumph, or Despair</i>,</div>
+<div class="i1">    <i>Drink! for you know not whence you came, nor why</i>:</div>
+<div class="i0">  D<i>rink! for you know not why you go, nor where</i>."</div>
+</div></div>
+
+<p>The Epicureanism of Horace is more nearly
+that of Epicurus himself, the saintly recluse
+who taught that "to whom little is not enough,
+nothing is enough," and who regarded plain
+living as at the same time a duty and a happiness.
+The lives of too liberal disciples have
+been a slander on the name of Epicurus.
+Horace is not among them. With degenerate
+Epicureans, whose philosophy permitted them
+"To roll with pleasure in a sensual sty," he had
+little in common. The extraction from life of
+the honey of enjoyment was indeed the highest
+<a id="Page_055" name="Page_055"></a><span class="pagenum">055</span>
+purpose, but the purpose could never be realized
+without the exercise of discrimination,
+moderation, and a measure of spiritual culture.
+Life was an art, symmetrical, unified, reposeful,&#8212;like
+the poem of perfect art, or the
+statue, or the temple. In actual conduct, the
+hedonist of the better type differed little from
+the Stoic himself.</p>
+
+<p>The gracious touch and quiet humor with
+which Horace treats even the most serious
+themes are often misleading. This effect is
+the more possible by reason of the presence
+among his works of passages, not many and
+for the most part youthful, in which he is
+guilty of too great freedom.</p>
+
+<p>Horace is really a serious person. He is
+even something of a preacher, a praiser of the
+time when he was a boy, a censor and corrector
+of his youngers. So far as popular definitions
+of Stoic and Epicurean are concerned, he is
+much more the former than the latter.</p>
+
+<p>For Horace's counsel is always for moderation,
+and sometimes for austerity. He is not
+a wine-bibber, and he is not a total abstainer.
+To be the latter on principle would never have
+occurred to him. The vine was the gift of
+God. Prefer nothing to it for planting in the
+<a id="Page_056" name="Page_056"></a><span class="pagenum">056</span>
+mellow soil of Tibur, Varus; it is one of the
+compensations of life:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "I<i>ts magic power of wit can spread</i></div>
+<div class="i0">  T<i>he halo round a dullard's head</i>,</div>
+<div class="i0">  C<i>an make the sage forget his care</i>,</div>
+<div class="i0">  H<i>is bosom's inmost thoughts unbare</i>,</div>
+<div class="i0">  A<i>nd drown his solemn-faced pretense</i></div>
+<div class="i0">  B<i>eneath its blithesome influence</i>.</div>
+<div class="i0">  B<i>right hope it brings and vigor back</i></div>
+<div class="i0">  T<i>o minds outworn upon the rack</i>,</div>
+<div class="i0">  A<i>nd puts such courage in the brain</i></div>
+<div class="i0">  A<i>s makes the poor be men again</i>,</div>
+<div class="i0">  W<i>hom neither tyrants' wrath affrights</i>,</div>
+<div class="i0">  N<i>or all their bristling satellites</i>."</div>
+</div></div>
+
+<p>When wine is a curse, it is not so because of
+itself, but because of excess in its use. The
+cup was made for purposes of pleasure, but to
+quarrel over it,&#8212;leave that to barbarians!
+Take warning by the Thracians, and the Centaurs
+and Lapiths, never to overstep the bounds
+of moderation. Pleasure with after-taste of
+bitterness is not real pleasure. Pleasure purchased
+with pain is an evil.</p>
+
+<p>Upon women he looks with the same philosophic
+calm as upon wine. Love, too, was to
+be regarded as one of the contributions to
+<a id="Page_057" name="Page_057"></a><span class="pagenum">057</span>
+life's pleasure. To dally with golden-haired
+Pyrrha, with Lyce, or with Glycera, the beauty
+more brilliant than Parian marble, was not in
+his eyes to be blamed in itself. What he felt
+no hesitation in committing to his poems for
+friends and the Emperor to read, they on their
+part felt as little hesitation in confessing to
+him. The fault of love lay not in itself, but in
+abuse. This is not said of adultery, which was
+always an offense because it disturbed the institution
+of marriage and rotted the foundation
+of society.</p>
+
+<p>There is thus no inconsistency in the Horace
+of the love poems and the Horace of the <i>Secular
+Hymn</i> who petitions Our Lady Juno to
+prosper the decrees of the Senate encouraging
+the marriage relation and the rearing of families.
+Of the illicit love that looked to Roman
+women in the home, he emphatically declares
+his innocence, and against it directs the last
+and most powerful of the six <i>Inaugural Odes</i>;
+for this touched the family, and, through the
+family, the State. This, with neglect of religion,
+he classes together as the two great
+causes of national decay.</p>
+
+<p>Horace is not an Ovid, with no sense of the
+limits of either indulgence or expression. He
+<a id="Page_058" name="Page_058"></a><span class="pagenum">058</span>
+is not a Catullus, tormented by the furies of
+youthful passion. The flame never really
+burned him. We search his pages in vain for
+evidence of sincere and absorbing passion,
+whether of the flesh or of the spirit. He was
+guilty of no breach of the morals of his time,
+and it is likely also, in spite of Suetonius, that
+he was guilty of no excess. He was a supporter
+in good faith of the Emperor in his
+attempts at the moral improvement of the
+State. If Virgil in the writing of the <i>Georgics</i>
+or the <i>Aeneid</i> was conscious of a purpose to
+second the project of Augustus, it is just as
+likely that his intimate friend Horace also
+wrote with conscious moral intent. Nothing
+is more in keeping with his conception of the
+end and effect of literature:</p>
+
+<p>It shapes the tender and hesitating speech
+of the child; it straight removes his ear from
+shameless communication; presently with
+friendly precepts it moulds his inner self; it
+is a corrector of harshness and envy and anger;
+it sets forth the righteous deed; it instructs the
+rising generations with the familiar example;
+it is a solace to the helpless and the sick at
+heart.
+<a id="Page_059" name="Page_059"></a><span class="pagenum">059</span></p>
+
+
+<h4><i>iv</i>. LIFE AND PURPOSE</h4>
+
+<p>Horace's philosophy of life is thus based
+upon something deeper than the principle of
+seizing upon pleasure. His definition of pleasure
+is not without austerity; he preaches the
+positive virtues of performance as well as the
+negative virtue of moderation. He could be
+an unswerving follower and guardian of true
+virtue, and could bend self to circumstance.</p>
+
+<p>He stands for domestic purity, and for
+patriotic devotion. <i>Dulce et decorum est pro
+patria mori</i>,&#8212;to die for country is a privilege
+and a glory. His hero is Regulus, returning
+steadfastly through the ranks of protesting
+friends to keep faith with the pitiless executioners
+of Carthage. Regulus, and the Scauri,
+and Paulus, who poured out his great spirit
+on the disastrous field of Cannae, and Fabricius,
+of simple heart and absolute integrity, he
+holds up as examples to his generation. In
+praise of the sturdy Roman qualities of courage
+and steadfastness he writes his most inspired
+lines:</p>
+
+<p>The righteous man of unswerving purpose
+is shaken in his solid will neither by the unworthy
+demands of inflamed citizens, nor by
+<a id="Page_060" name="Page_060"></a><span class="pagenum">060</span>
+the frowning face of the threatening tyrant,
+nor by the East-wind, turbid ruler of the restless
+Adriatic, nor by the great hand of fulminating
+Jove himself. If the heavens should
+fall asunder, the crashing fragments would descend
+upon him unterrified.</p>
+
+<p>He preaches the gospel of faithfulness not
+only to family, country, and purpose, but to
+religion. He will shun the man who violates
+the secrets of the mysteries. The curse of the
+gods is upon all such, and pursues them to the
+day of doom.</p>
+
+<p>Faithfulness to friendship stands out with no
+less distinctness. While Horace is in his right
+mind, he will value nothing so highly as a
+delightful friend. He is ready, whenever fate
+calls, to enter with Maecenas even upon the
+last journey. Among the blest is he who is
+unafraid to die for dear friends or native land.</p>
+
+<p>Honor, too,&#8212;the fine spirit of old Roman
+times, that refused bribes, that would not take
+advantage of an enemy's weakness, that asked
+no questions save the question of what was
+right, that never turned its back upon duty,
+that swore to its own hurt and changed not;
+the same lofty spirit the recording of whose
+manifestations never fails to bring the glow to
+<a id="Page_061" name="Page_061"></a><span class="pagenum">061</span>
+Livy's cheek and the gleam to his eye,&#8212;honor
+is also first and foremost in Horace's
+esteem. Regulus, the self-sacrificing; Curius,
+despising the Samnite gold; Camillus, yielding
+private grievance to come to his country's aid;
+Cato, dying for his convictions after Thapsus,
+are his inspirations. The hero of his ideal fears
+disgrace worse than death. The diadem and
+the laurel are for him only who can pass on
+without the backward glance upon stores of
+treasure.</p>
+
+<p>Finally, not least among the qualities which
+enter into the ideal of Horace is the simplicity
+of the olden time, when the armies of Rome
+were made up of citizen-soldiers, and the eye
+of every Roman was single to the glory of
+the State, and the selfishness of luxury was yet
+unknown.</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  S<i>cant were their private means, the public, great</i>;</div>
+<div class="i1">     'T<i>was still a commonwealth, that State</i>;</div>
+<div class="i0">  N<i>o portico, surveyed with private rule</i>,</div>
+<div class="i1">     A<i>ssured one man the shady cool</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>he laws approved the house of humble sods</i>;</div>
+<div class="i1">     'T<i>was only to the homes of gods</i>,</div>
+<div class="i0">  T<i>he structures reared with earnings of the nation</i>,</div>
+<div class="i1">     T<i>hey gave rich marble decoration</i>.</div>
+</div></div>
+<p><a id="Page_062" name="Page_062"></a><span class="pagenum">062</span></p>
+
+<p>The healthful repose of heart which comes
+from unity of purpose and simple devotion to
+plain duty, he sees existing still, even in his
+own less strenuous age, in the remote and
+peaceful countryside. Blessed is the man far
+from the busy life of affairs, like the primeval
+race of mortals, who tills with his own oxen
+the acres of his fathers! Horace covets the
+gift earnestly for himself, because his calm
+vision assures him that it, of all the virtues,
+lies next to happy living.</p>
+
+
+<h4><i>v</i>. THE SOURCES OF HAPPINESS</h4>
+
+<p>Here we have arrived at the kernel of
+Horace's philosophy, the key which unlocks
+the casket containing his message to all men
+of every generation. In actual life, at least,
+mankind storms the citadel of happiness, as if
+it were something material and external, to be
+taken by violent hands. Horace locates the
+citadels of happiness in his own breast. It is
+the heart which is the source of all joy and all
+sorrow, of all wealth and all poverty. Happiness
+is to be sought, not outside, but within.
+Man does not create his world; he <i>is</i> his world.</p>
+
+<p>Men are madly chasing after peace of heart
+<a id="Page_063" name="Page_063"></a><span class="pagenum">063</span>
+in a thousand wrong ways, all the while over-looking
+the right way, which is nearest at hand.
+To observe their feverish eagerness, the spectator
+might be led to think happiness identical
+with possession. And yet wealth and happiness
+are neither the same nor equivalent.
+They may have nothing to do one with the
+other. Money, indeed, is not an evil in itself,
+but it is not essential except so far as it is a
+mere means of life. Poor men may be happy,
+and the wealthy may be poor in the midst of
+their riches. A man's wealth consisteth not in
+the abundance of the things he possesseth.
+More justly does he lay claim to the name of
+rich man who knows how to use the blessings
+of the gods wisely, who is bred to endurance
+of hard want, and who fears the disgraceful
+action worse than he fears death.</p>
+
+<p>Real happiness consists in peace of mind
+and heart. Everyone desires it, and everyone
+prays for it,&#8212;the sailor caught in the storms
+of the Aegean, the mad Thracian, the Mede
+with quiver at his back. But peace is not to
+be purchased. Neither gems nor purple nor
+gold will buy it, nor favor. Not all the externals
+in the world can help the man who depends
+upon them alone.
+<a id="Page_064" name="Page_064"></a><span class="pagenum">064</span></p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  N<i>ot treasure trove nor consul's stately train</i></div>
+<div class="i0">  D<i>rives wretched tumult from the troubled brain</i>;</div>
+<div class="i0">  S<i>warming with cares that draw unceasing sighs</i>,</div>
+<div class="i0">  T<i>he fretted ceiling hangs o'er sleepless eyes</i>.</div>
+</div></div>
+
+
+<p>Nor is peace to be pursued and laid hold of,
+or discovered in some other clime. Of what
+avail to fly to lands warmed by other suns?
+What exile ever escaped himself? It is the
+soul that is at fault, that never can be freed
+from its own bonds. The sky is all he changes:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  T<i>he heavens, not themselves, they change</i></div>
+<div class="i1">    W<i>ho haste to cross the seas</i>.</div>
+</div></div>
+
+<p>The happiness men seek for is in themselves,
+to be found at little Ulubrae in the Latin
+marshes as easily as in great cities, if only they
+have the proper attitude of mind and heart.</p>
+
+<p>But how insure this peace of mind?</p>
+
+<p>At the very beginning, and through to the
+end, the searcher after happiness must recognize
+that unhappiness is the result of slavery
+of some sort, and that slavery in turn is begotten
+of desire. The man who is overfond of
+anything will be unwilling to let go his hold
+upon it. Desire will curb his freedom. The
+only safety lies in refusing the rein to passion
+<a id="Page_065" name="Page_065"></a><span class="pagenum">065</span>
+of any kind. "To gaze upon nothing to lust
+after it, Numicius, is the simple way of winning
+and of keeping happiness." He who lives
+in either desire or fear can never enjoy his
+possessions. He who desires will also fear; and
+he who fears can never be a free man. The
+wise man will not allow his desires to become
+tyrants over him. Money will be his servant,
+not his master. He will attain to wealth by
+curbing his wants. You will be monarch over
+broader realms by dominating your spirit than
+by adding Libya to far-off Gades.</p>
+
+<p>The poor man, in spite of poverty, may
+enjoy life more than the rich. It is possible
+under a humble roof to excel in happiness
+kings and the friends of kings. Wealth depends
+upon what men want, not upon what
+men have. The more a man denies himself,
+the greater are the gifts of the gods to him.
+One may hold riches in contempt, and thus be
+a more splendid lord of wealth than the great
+landowner of Apulia. By contracting his desires
+he may extend his revenues until they are
+more than those of the gorgeous East. Many
+wants attend those who have many ambitions.
+Happy is the man to whom God has given
+barely enough. Let him to whom fate, fortune,
+<a id="Page_066" name="Page_066"></a><span class="pagenum">066</span>
+or his own effort has given this enough,
+desire no more. If the liquid stream of Fortune
+should gild him, it would make his happiness
+nothing greater, because money cannot
+change his nature. To the man who has good
+digestion and good lungs and is free from gout,
+the riches of a king could add nothing. What
+difference does it make to him who lives within
+the limits of nature whether he plow a hundred
+acres or a thousand?</p>
+
+<p>As with the passion of greed, so with anger,
+love, ambition for power, and all the other
+forms of desire which lodge in the human
+heart. Make them your slaves, or they will
+make you theirs. Like wrath, they are all
+forms of madness. The man who becomes
+avaricious has thrown away the armor of life,
+has abandoned the post of virtue. Once let
+a man submit to desire of an unworthy kind,
+and he will find himself in the case of the horse
+that called a rider to help him drive the stag
+from their common feeding-ground, and received
+the bit and rein forever.</p>
+
+<p>So Horace will enter into no entangling
+alliances with ambition for power, wealth, or
+position, or with the more personal passions.
+By some of them he has not been altogether
+<a id="Page_067" name="Page_067"></a><span class="pagenum">067</span>
+untouched, and he has not regret; but to continue,
+at forty-five, would not do. He will be
+content with just his home in the Sabine hills.
+This is what he always prayed for, a patch of
+ground, not so very large, with a spring of
+ever-flowing water, a garden, and a little timberland.
+He asks for nothing more, except that
+a kindly fate will make these beloved possessions
+forever his own. He will go to the ant,
+for she is an example, and consider her ways
+and be wise, and be content with what he has as
+soon as it is enough. He will not enter the
+field of public life, because it would mean
+the sacrifice of peace. He would have to keep
+open house, submit to the attentions of a body-guard
+of servants, keep horses and carriage and
+a coachman, and be the target for shafts of
+envy and malice; in a word, lose his freedom
+and become the slave of wretched and burdensome
+ambition.</p>
+
+<p>The price is too great, the privilege not to
+his liking. Horace's prayer is rather to be
+freed from the cares of empty ambition, from
+the fear of death and the passion of anger, to
+laugh at superstition, to enjoy the happy return
+of his birthday, to be forgiving of his
+friends, to grow more gentle and better as old
+<a id="Page_068" name="Page_068"></a><span class="pagenum">068</span>
+age draws on, to recognize the proper limit in
+all things:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "H<i>ealth to enjoy the blessings sent</i></div>
+<div class="i1">    F<i>rom heaven; a mind unclouded, strong</i>;</div>
+<div class="i0">  A<i> cheerful heart; a wise content</i>;</div>
+<div class="i1">    A<i>n honored age; and song</i>."</div>
+</div></div>
+<p><a id="Page_069" name="Page_069"></a><span class="pagenum">069</span></p>
+
+
+
+
+<h2>II. HORACE THROUGH THE AGES</h2>
+
+<h3><span class="sc">Introductory</span></h3>
+
+
+<p>Thus much we have had to say in the
+interpretation of Horace. Our interpretation
+has centered about his qualities
+as a person: his broad experience, his
+sensitiveness, his responsiveness, his powers of
+assimilation, his gift of expression, his concreteness
+as a representative of the world of culture,
+as a son of Italy, as a citizen of eternal Rome,
+as a member of the universal human family.</p>
+
+<p>Let us now tell the story of Horace in the
+life of after times. It will include an account
+of the esteem in which he was held while still
+in the flesh; of the fame he enjoyed and the
+influence he exercised until Rome as a great
+empire was no more and the Roman tongue and
+Roman spirit alike were decayed; of the way
+in which his works were preserved intact
+through obscure centuries of ignorance and
+turmoil; and of their second birth when men
+began to delight once more in the luxuries of
+<a id="Page_070" name="Page_070"></a><span class="pagenum">070</span>
+the mind. This will prepare the way for a
+final chapter, on the peculiar quality and manner
+of the Horatian influence.</p>
+
+
+
+<h3>1. <span class="sc">Horace the Prophet</span></h3>
+
+<p>Horace is aware of his qualities as a poet.
+In an interesting blend, of which the first and
+larger part is detached and judicial estimation
+of his work, a second part literary convention,
+and the third and least a smiling and inoffensive
+self-assertion, he prophesies his own
+immortality.</p>
+
+<p>From infancy he has been set apart as the
+child of the Muses. At birth Melpomene
+marked him for her own. The doves of ancient
+story covered him over with the green leaves
+of the Apulian wood as, lost and overcome by
+weariness, he lay in peaceful slumber, and kept
+him safe from creeping and four-footed things,
+a babe secure in the favor of heaven. The
+sacred charm that rests upon him preserved
+him in the rout at Philippi, rescued him from
+the Sabine wolf, saved him from death by the
+falling tree and the waters of shipwreck. He
+will abide under its shadow wherever he may
+go,&#8212;to his favorite haunts in Latium, to the
+<a id="Page_071" name="Page_071"></a><span class="pagenum">071</span>
+far north where fierce Britons offer up the
+stranger to their gods, to the far east and the
+blazing sands of the Syrian desert, to rude
+Spain and the streams of Scythia, to the treeless,
+naked fields of the frozen pole, to homeless
+lands under the fiery car of the too-near
+sun. He will rise superior to the envy of men.
+The pinions that bear him aloft through the
+clear ether will be of no usual or flagging sort.
+For him there shall be no death, no Stygian
+wave across which none returns:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  F<i>orego the dirge; let no one raise the cry</i>,</div>
+<div class="i1">    O<i>r make unseemly show of grief and gloom</i>,</div>
+<div class="i0">  N<i>or think o'er me, who shall not really die</i>,</div>
+<div class="i1">    T<i>o rear the empty honor of the tomb</i>.</div>
+</div></div>
+
+<p>His real self will remain among men, ever
+springing afresh in their words of praise:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  N<i>ot lasting bronze nor pyramid upreared</i></div>
+<div class="i0">  B<i>y princes shall outlive my powerful rhyme</i>.</div>
+<div class="i0">  T<i>he monument I build, to men endeared</i>,</div>
+<div class="i0">  N<i>ot biting rain, nor raging wind, nor time</i>,</div>
+<div class="i0">  E<i>ndlessly flowing through the countless years</i>,</div>
+<div class="i0">  S<i>hall e'er destroy. I shall not wholly die</i>;</div>
+<div class="i0">  T<i>he grave shall have of me but what appears</i>;</div>
+<div class="i0">  F<i>or me fresh praise shall ever multiply</i>.</div>
+
+<p><a id="Page_072" name="Page_072"></a><span class="pagenum">072</span></p>
+
+<div class="i0">  A<i>s long as priest and silent Vestal wind</i></div>
+<div class="i0">  T<i>he Capitolian steep, tongues shall tell o'er</i></div>
+<div class="i0">  H<i>ow humble Horace rose above his kind</i></div>
+<div class="i0">  W<i>here Aufidus's rushing waters roar</i></div>
+<div class="i0">  I<i>n the parched land where rustic Daunus reigned</i>,</div>
+<div class="i0">  A<i>nd first taught Grecian numbers how to run</i></div>
+<div class="i0">  I<i>n Latin measure. Muse! the honor gained</i></div>
+<div class="i0">  I<i>s thine, for I am thine till time is done</i>.</div>
+<div class="i0">  G<i>racious Melpomene, O hear me now</i>,</div>
+<div class="i0">  A<i>nd with the Delphic bay gird round my brow</i>.</div>
+</div></div>
+
+<p>Yet Horace does not always refer to his
+poetry in this serious vein; if indeed we are to
+call serious a manner of literary prophecy which
+has always been more or less conventional.
+His frequent disclaimers of the higher inspiration
+are well known. The Muse forbids him
+to attempt the epic strain or the praise of
+Augustus and Agrippa. In the face of grand
+themes like these, his genius is slight. He will
+not essay even the strain of Simonides in the
+lament for an Empire stained by land and sea
+with the blood of fratricidal war. His themes
+shall be rather the feast and the mimic battles
+of revelling youths and maidens, the making
+of love in the grots of Venus. His lyre shall
+be jocose, his plectrum of the lighter sort.</p>
+
+<p>He not only half-humorously disclaims the
+<a id="Page_073" name="Page_073"></a><span class="pagenum">073</span>
+capacity for lofty themes, but, especially as he
+grows older and more philosophic, and perhaps
+less lyric, half-seriously attributes whatever he
+does to persevering effort. He has</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "N<i>or the pride nor ample pinion</i></div>
+<div class="i1">    T<i>hat the Theban eagle bear</i>,</div>
+<div class="i0">  S<i>ailing with supreme dominion</i></div>
+<div class="i1">    T<i>hrough the azure deep of air</i>;"</div>
+</div></div>
+
+<p class="zero">he is the bee, with infinite industry flitting
+from flower to flower, the unpretending maker
+of verse, fashioning his songs with only toil and
+patience. He believes in the file, in long delay
+before giving forth to the world the poem that
+henceforth can never be recalled. The only
+inspiration he claims for <i>Satire</i> and <i>Epistle</i>,
+which, he says, approximate the style of spoken
+discourse, lies in the aptness and patience with
+which he fashions his verses from language in
+ordinary use, giving to words new dignity by
+means of skillful combination. Let anyone
+who wishes to be convinced undertake to do
+the same; he will find himself perspiring in a
+vain attempt.</p>
+
+<p>And if Horace did not always conceive of
+his inspiration as purely ethereal, neither did
+he always dream of the path to immortality
+<a id="Page_074" name="Page_074"></a><span class="pagenum">074</span>
+as leading through the spacious reaches of the
+upper air. At forty-four, he is already
+aware of a more pedestrian path. He
+has observed the ways of the public with
+literature, as any writer must observe
+them still, and knows also of a certain
+use to which his poems are being put. Perhaps
+with some secret pride, but surely with a philosophic
+resignation that is like good-humored
+despair, he sees that the path is pedagogical.
+In reproachful tones, he addresses the book of
+<i>Epistles</i> that is so eager to try its fortune in
+the big world: But if the prophet is not
+blinded by disgust at your foolishness, you will
+be prized at Rome until the charm of youth has
+left you. Then, soiled and worn by much
+handling of the common crowd, you will either
+silently give food to vandal worms, or seek
+exile in Utica, or be tied up and sent to Ilerda.
+The monitor you did not heed will laugh, like
+the man who sent his balky ass headlong over
+the cliff; for who would trouble to save anyone
+against his will? This lot, too, you may
+expect: for a stammering old age to come upon
+you teaching children to read in the out-of-the-way
+parts of town.
+<a id="Page_075" name="Page_075"></a><span class="pagenum">075</span></p>
+
+
+
+<h3>2. <span class="sc">Horace and Ancient Rome</span></h3>
+
+<p>That Horace refers to being pointed out
+by the passer-by as the minstrel of the Roman
+lyre, or, in other words, as the laureate, that
+his satire provokes sufficient criticism to draw
+from him a defense and a justification of himself
+against the charge of cynicism, and that
+he finally records a greater freedom from the
+tooth of envy, are all indications of the prominence
+to which he rose. That Virgil and Varius,
+poets of recognized worth, and their friend
+Plotius Tucca, third of the whitest souls of
+earth, introduced him to the attention of Maecenas,
+and that the discriminating lover of
+excellence became his patron and made him
+known to Augustus, are evidences of the appeal
+of which he was capable both as poet and man.
+In the many names of worthy and distinguished
+men of letters and affairs to whom he addresses
+the individual poems, and with whom he must
+therefore have been on terms of mutual respect,
+is seen a further proof. Even Virgil contains
+passages disclosing a more than ordinary
+familiarity with Horace's work, and men like
+Ovid and Propertius, of whose personal relations
+<a id="Page_076" name="Page_076"></a><span class="pagenum">076</span>
+with Horace nothing is known, not only
+knew but absorbed his poems.</p>
+
+<p>If still further evidence of Horace's worth
+is required, it may be seen in his being invited
+to commemorate the exploits of Drusus and
+Tiberius, the royal stepsons, against the hordes
+of the North, and the greatness of Augustus
+himself, ever-present help of Italy, and imperial
+Rome; and in the Emperor's expression of
+disappointment, sometime before the second
+book of <i>Epistles</i> was published, that he had
+been mentioned in none of the "Talks." And,
+finally, if there remained in the minds of his
+generation any shadow of doubt as to the
+esteem in which he was held by the foremost
+men in the State, who were in most cases men
+of letters as well as patrons of letters, it was
+dispelled when, in the year 17, Horace was
+chosen to write the <i>Secular Hymn</i>, for use in
+the greatest religious and patriotic festival of
+the times.</p>
+
+<p>These facts receive greater significance from
+an appreciation of the poet's sincerity and independence.
+He will restore to Maecenas his
+gifts, if their possession is to mean a curb upon
+the freedom of living his nature calls for. He
+declines a secretaryship to the Emperor himself,
+<a id="Page_077" name="Page_077"></a><span class="pagenum">077</span>
+and without offense to his imperial friend,
+who bids him be free of his house as if it were
+his own.</p>
+
+<p>But Horace must submit also to the more
+impartial judgment of time. Of the two innovations
+which gave him relief against the
+general background, one was the amplification
+of the crude but vigorous satire of Lucilius
+into a more perfect literary character, and the
+other was the persuasion of the Greek lyric
+forms into Roman service. Both examples had
+their important effects within the hundred years
+that followed on Horace's death.</p>
+
+<p>The satire and epistle, which Horace hardly
+distinguished, giving to both the name of
+<i>Sermo</i>, or "Talk," was the easier to imitate.
+Persius, dying in the year 62, at the age
+of twenty-eight, was steeped in Horace,
+but lacked the gentle spirit, the genial
+humor, and the suavity of expression
+that make Horatian satire a delight. In
+Juvenal, writing under Trajan and Hadrian,
+the tendency of satire toward consistent aggressiveness
+which is present in Horace and further
+advanced in Persius, has reached its goal.
+With Juvenal, satire is a matter of the lash, of
+vicious cut and thrust. Juvenal may tell the
+<a id="Page_078" name="Page_078"></a><span class="pagenum">078</span>
+truth, but the smiling face of Horatian satire
+has disappeared. With him the line of Roman
+satire is extinct, but the nature of satire for all
+time to come is fixed. Juvenal, employing the
+form of Horace and substituting for his content
+of mellow contentment and good humor
+the bitterness of an outraged moral sense, is
+the last Roman and the first modern satirist.</p>
+
+<p>The <i>Odes</i> found more to imitate them, but
+none to rival. The most pronounced example
+of their influence is found in the choruses of
+the tragic poet Seneca, where form and substance
+alike are constantly reminiscent of
+Horace. Two comments on the <i>Odes</i> from the
+second half of the first century are of even
+greater eloquence than Seneca's example as
+testimonials to the impression made by the
+Horatian lyric. Petronius, of Nero's time,
+speaks of the poet's <i>curiosa felicitas</i>, meaning
+the gift of arriving, by long and careful search,
+at the inevitable word or phrase. Quintilian,
+writing his treatise on Instruction, sums him
+up thus: "Of our lyric poets, Horace is about
+the only one worth reading; for he sometimes
+reaches real heights, and he is at the same time
+full of delightfulness and grace, and both in
+variety of imagery and in words is most happily
+<a id="Page_079" name="Page_079"></a><span class="pagenum">079</span>
+daring." To these broad strokes the
+modern critic has added little except by way
+of elaboration.</p>
+
+<p>The <i>Life of Horace</i>, written by Suetonius, the
+secretary of Hadrian, contains evidence of
+another, and perhaps a stronger, character
+regarding the poet's power. We see that
+doubtful imitations are beginning to circulate.
+"I possess," says the imperial secretary, "some
+elegies attributed to his pen, and a letter in
+prose, supposed to be a recommendation of
+himself to Maecenas, but I think that both are
+spurious; for the elegies are commonplace, and
+the letter is, besides, obscure, which was by no
+means one of his faults."</p>
+
+<p>The history of Roman literature from the end
+of the first century after Christ is the story of
+the decline of inspiration, the decline of taste,
+the decline of language, the decline of intellectual
+interest. Beneath it all and through it all
+there is spreading, gradually and silently, the
+insidious decay that will surely crumble the
+constitution of the ancient world. Pagan
+letters are uncreative, and, with few exceptions,
+without imagination and dull. The literature
+of the new religion, beginning to push green
+shoots from the ruins of the times, is a mingling
+<a id="Page_080" name="Page_080"></a><span class="pagenum">080</span>
+of old and new substance under forms that
+are always old.</p>
+
+<p>In the main, neither Christian nor pagan
+will be attracted by Horace. The Christian
+will see in his gracious resignation only the philosophy
+of despair, and in his light humors only
+careless indulgence in the vanities of this world
+and blindness to the eternal concerns of life.
+The pagan will not appreciate the delicacy of
+his art, and will find the abundance of his
+literary, mythological, historical, and geographical
+allusion, the compactness of his
+expression, and the maturity and depth of his
+intellect, a barrier calling for too much effort.
+Both will prefer Virgil&#8212;Virgil of "arms and
+the man," the story-teller, Virgil the lover of
+Italy, Virgil the glorifier of Roman deeds and
+destiny, Virgil the readily understood, Virgil
+who has already drawn aside, at least partly,
+the veil that hangs before the mystic other-world,
+Virgil the almost Christian prophet, with
+the almost Biblical language, Virgil the spiritual,
+Virgil the comforter.</p>
+
+<p>Horace will not be popular. He will remain
+the poet of the few who enjoy the process of
+thinking and recognize the charm of skillful
+expression. Tacitus and Juvenal esteem him,
+<a id="Page_081" name="Page_081"></a><span class="pagenum">081</span>
+the Emperor Alexander Severus reads him in
+leisure hours, the long list of mediocrities
+representing the course of literary history
+demonstrate by their content that the education
+of men of letters in general includes a
+knowledge of him. The greatest of the late
+pagans,&#8212;Ausonius and Claudian at the end
+of the fourth century; Boëthius, philosopher-victim
+of Theodoric in the early sixth; Cassiodorus,
+the chronicler, imperial functionary in
+the same century,&#8212;disclose a familiarity
+whose foundations are to be looked for in
+love and enthusiasm rather than in mere cultivation.
+It may be safely assumed that, in
+general, appreciation of Horace was proportionate
+to greatness of soul and real love of
+literature.</p>
+
+<p>The same assumption may be made in the
+realm of Christian literature. Minucius Felix,
+calmly and logically arguing the case of Christianity
+against paganism, Tertullian the fiery
+preacher, Cyprian the enthusiast and martyr,
+Arnobius the rhetorical, contain no indications
+of familiarity with Horace, though this is not
+conclusive proof that they did not know and
+admire him; but Lactantius, the Christian
+Cicero, Jerome, the sympathetic, the sensitive,
+<a id="Page_082" name="Page_082"></a><span class="pagenum">082</span>
+the intense, the irascible, Prudentius, the most
+original and the most vigorous of the Christian
+poets, and even Venantius Fortunatus, bishop
+and traveler in the late sixth century, and last
+of the Christian poets while Latin was still a
+native tongue, display a knowledge of Horace
+which argues also a love for him.</p>
+
+<p>The name of Venantius Fortunatus brings
+us to the very brink of the centuries called the
+Middle Age. If there are those who object
+to the name of Dark Age as doing injustice to
+the life of the times, they must at any rate
+agree that for Horace it was really dark. That
+his light was not totally lost in the shadows
+which enveloped the art of letters was due to
+one aspect of his immortality which we must
+notice before leaving the era of ancient Rome.</p>
+
+<p>Thus far, in accounting for Horace's continued
+fame, we have considered only his
+appeal to the individual intellect and taste, the
+admiration which represented an interest spontaneous
+and sincere. There was another phase
+of his fame which expressed an interest less
+inspired, though its first cause was none the
+less in the enthusiasm of the elect. It was the
+phase foreseen by Horace himself, and its first
+manifestations had probably appeared in his
+<a id="Page_083" name="Page_083"></a><span class="pagenum">083</span>
+own life-time. It was the immortality of the
+text-book and the commentary.</p>
+
+<p>Quintilian's estimate of Horace in the <i>Institutes</i>
+is an indication that the poet was already
+a subject of school instruction in the latter half
+of the first century. Juvenal, in the first
+quarter of the next, gives us a chiaroscuro
+glimpse into a Roman school-interior where
+little boys are sitting at their desks in early
+morning, each with odorous lamp shining upon
+school editions of Horace and Virgil smudged
+and discolored by soot from the wicks,</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i2">        <i>totidem olfecisse lucernas</i>,</div>
+<div class="i0">  Q<i>uot stabant pueri, cum totus decolor esset</i></div>
+<div class="i0">  F<i>laccus et haereret nigro fuligo Maroni</i>.</div>
+<p class="cite">(VII. 225 ff.)</p>
+</div></div>
+
+<p>The use of the poet in the schools meant that
+lovers of learning as well as lovers of literary
+art were occupying themselves with Horace.
+The first critical edition of his works, by
+Marcus Valerius Probus, appeared as early as
+the time of Nero. A native of Berytus, the
+modern Beirut, disappointed in the military
+career, he turned to the collection, study, and
+critical editing of Latin authors, among whom,
+besides Horace, were Virgil, Lucretius, Persius,
+<a id="Page_084" name="Page_084"></a><span class="pagenum">084</span>
+and Terence. His method, comprising careful
+comparison of manuscripts, emendations, and
+punctuation, with annotations explanatory and
+aesthetic, all prefaced by the author's biography,
+won him the reputation of the most
+erudite of Roman men of letters. It is in no
+small measure due to him that the tradition of
+Horace's text is so comparatively good.</p>
+
+<p>There were many other critics and interpreters
+of Horace. Of many of them, the names
+as well as the works have been lost. Modestus
+and Claranus, perhaps not long after Probus,
+are two names that survive. Suetonius, as we
+have seen, wrote the poet's <i>Life</i>, though it
+contains almost nothing not found in the works
+of Horace themselves. In the time of Hadrian
+appeared also the edition of Quintus Terentius
+Scaurus, in ten books, of which the <i>Odes</i> and
+<i>Epodes</i> made five, and the <i>Satires</i> and <i>Epistles</i>
+five, the <i>Ars Poetica</i> being set apart as a book
+in itself. At the end of the second or the
+beginning of the third century, Helenius Acro
+wrote commentaries on certain plays of Terence
+and on Horace, giving special attention to the
+persons appearing in the poet's pages, a favorite
+subject on which a considerable body of
+writing sprang up. Not long afterward appeared
+<a id="Page_085" name="Page_085"></a><span class="pagenum">085</span>
+the commentary of Pomponius Porphyrio,
+originally published with the text of
+Horace, but later separately. In spite of
+modifications wrought in the course of time,
+only Porphyrio's, of all the commentaries of
+the first three hundred years, has preserved an
+approximation to its original character and
+quantity. Acro's has been overlaid by other
+commentators until the identity of his work is
+lost. The purpose of Porphyrio was to bring
+poetic beauty into relief by clarifying construction
+and sense, rather than to engage in learned
+exposition of the subject matter.</p>
+
+<p>Finally, in the year 527, the consul Vettius
+Agorius Basilius Mavortius, with the collaboration
+of one Felix, revised the text of at least
+the <i>Odes</i> and <i>Epodes</i>, and perhaps also of the
+<i>Satires</i> and <i>Epistles</i>. That there were many
+other editions intervening between Porphyrio's
+and his, there can be little doubt.</p>
+
+<p>This review of scant and scattered, but consistent,
+evidence is proof enough of Horace's
+hold upon the intellectual and literary leaders
+of the ancient Roman world. For the individual
+pagan who clung to the old order, he
+represented more acceptably than anyone else,
+or anyone else but Virgil, the ideal of a glorious
+<a id="Page_086" name="Page_086"></a><span class="pagenum">086</span>
+past, and afforded consequently something of
+inspiration for the decaying present. Upon
+men who, whether pagan or Christian, were
+possessed by literary enthusiasms, and upon
+men who delighted in contemplation of the
+human kind, he cast the spell of art and humanity.
+Those who caught the fire directly
+may indeed have been few, but they were men
+of parts whose fire was communicated.</p>
+
+<p>As for the influence exercised by Horace
+upon Roman society at large through generation
+after generation of schoolboys as the
+centuries passed, its depth and breadth cannot
+be measured. It may be partly appreciated,
+however, by those who realize from their own
+experience both as pupils and teachers the
+effect upon growing and impressionable minds
+of a literature rich in morality and patriotism,
+and who reflect upon the greater amplitude of
+literary instruction among the ancients, by
+whom a Homer, a Virgil, or a Horace was made
+the vehicle of discipline so broad and varied
+as to be an education in itself.
+<a id="Page_087" name="Page_087"></a><span class="pagenum">087</span></p>
+
+
+<h3>3. <span class="sc">Horace and the Middle Age</span></h3>
+
+<p>There is no such thing as a line marking
+definitely the time when ancient Rome ceased
+to be itself and became the Rome of the Middle
+Age. If there were such a line, we should
+probably have crossed it already, whether in
+recording the last real Roman setting of the
+Horatian house in order by Mavortius in 527,
+or in referring to Venantius Fortunatus, the
+last of the Latin Christian poets. The usual
+date marking the end of the Western Empire,
+476, is only the convenient sign for the culmination
+of the movement long since begun in the
+interferences of an army composed more and
+more of a non-Italian, Northern soldiery, and
+ending in a final mutiny or revolt which assumed
+the character of invasion and the permanent
+seizure of civil as well as military
+authority. The coming of Odoacer is the ultimate
+stage in the process of Roman and Italian
+exhaustion, the sign that life is not longer possible
+except through infusion of northern blood.</p>
+
+<p>The military and political change itself was
+only exterior, the outward demonstration of
+deep-seated maladies. The too-successful bureaucratization
+of Augustus and such of his
+<a id="Page_088" name="Page_088"></a><span class="pagenum">088</span>
+successors as were really able and virtuous,
+the development of authority into tyranny by
+such as were neither able nor virtuous, but
+mad and wilful, had removed from Roman
+citizenship the responsibility which in the olden
+time had made it strong; and the increase of
+taxes, assessments, and compulsory honors
+involving personal contribution, had substituted
+for responsibility and privilege a burden
+so heavy that under it the civic life of the
+Empire was crushed to extinction. In Italy,
+above all, the ancient seed was running out.
+Under the influence of economic and social
+movement, the old stock had died and disappeared,
+or changed beyond recognition.
+The old language, except in the mouths and
+from the pens of the few, was fast losing its
+identity. Uncertainty, indifference, stagnation,
+weariness of body, mind, and soul, leaden resignation
+and despair, forgetfulness of the glories
+of the past in art and even in heroism, were the
+inheritance of the last generations of the old
+order. Jerome felt barbarism closing in:
+<i>Romanus orbis ruit</i>, he says,&#8212;the Roman
+world is tumbling in ruins.</p>
+
+<p>In measure as the vitality of pagan Rome was
+sapped, into the inert and decaying mass there
+<a id="Page_089" name="Page_089"></a><span class="pagenum">089</span>
+penetrated gradually the two new life-currents
+of a new religion and a new blood. The change
+they wrought from the first century to the
+descent of the Northerners was not sudden,
+nor was it rapid. Nor was it always a change
+that carried visible warrant of virtue. The
+mingling of external races in the army and in
+trade, the interference of a Northern soldiery
+in the affairs of the throne, the more peaceful
+but more intimate shuffling of the population
+through the social and economic emergence of
+the one-time nameless and poor, whether of
+native origin or foreign, may have contributed
+fresh blood to an anaemic society, but the
+result most apparent to the eye and most disturbing
+to the soul was the debasement of
+standards and the fears that naturally come
+with violent, sudden, or merely unfamiliar
+change. The new religion may have contributed
+new hope and erected new standards,
+but it also contributed exaggerations, contradictions,
+and new uncertainties. The life of
+logic began to be displaced by the life of
+feeling.</p>
+
+<p>The change and turmoil of the times that
+attended and followed the crumbling of the
+Roman world were favorable neither to the
+<a id="Page_090" name="Page_090"></a><span class="pagenum">090</span>
+production of letters nor to the enjoyment of a
+literary heritage. Goth, Byzantine, Lombard,
+Frank, German, Saracen, and Norman made
+free of the soil of Italy. If men were not
+without leisure, they were without the leisure
+of peaceful and careful contemplation, and
+lacked the buoyant heart without which assimilation
+of art is hardly less possible than creation.
+Ignorance had descended upon the
+world, and gross darkness covered the people.
+The classical authors were solid, the meat of
+vigorous minds. Their language, never the
+facile language of the people and the partially
+disciplined, now became a resisting medium
+that was foreign to the general run of men.
+Their syntax was archaic and crabbed, their
+metres forgotten. Their substance, never
+grasped without effort, was now not only difficult,
+but became the abstruse matter of another
+people and another age. To all but the cultivated
+few, they were known for anything but
+what they really were. It was an age of Virgil
+the mysterious prophet of the coming of Christ,
+of Virgil the necromancer. Real knowledge
+withdrew to secret and secluded refuges.</p>
+
+<p>If the classical authors in general were beyond
+the powers and outside the affection of
+<a id="Page_091" name="Page_091"></a><span class="pagenum">091</span>
+men, Horace was especially so. More intellectual
+than Virgil, and less emotional, in metrical
+forms for the most part lost to their knowledge
+and liking, the poet of the individual heart
+rather than of men in the national or racial
+mass, the poet strictly of this world and in no
+respect of the next, he almost vanished from
+the life of men.</p>
+
+<p>Yet the classics were not all lost, and not
+even Horace perished. Strange to say, and
+yet not really strange, the most potent active
+influence in the destruction of his appeal to
+men was also the most effective instrument of
+his preservation. Through the darkness and
+the storms of the nine hundred years following
+the fall of the Western Empire, Horace was
+sheltered under the wing of the Church.</p>
+
+<p>It was a natural exaggeration for Christianity
+to begin by teaching absolute separation from
+the world, and to declare, through the mouths
+of such as Tertullian, that the blood of Christ
+alone sufficed and nothing more was needed,
+and that literature and all the other arts of
+paganism, together with its manners, were so
+inseparable from its religion that every part
+was anathema. It was natural that Horace,
+more than Virgil, should be the object of its
+<a id="Page_092" name="Page_092"></a><span class="pagenum">092</span>
+neglect, and even of its active enmity. Horace
+is the most completely pagan of poets whose
+works are of spiritual import. The only immortality
+of which he takes account is the immortality
+of fame. Aside from this, the end
+of man is dust and shadow.</p>
+
+<p>It is true that in the depth of his heart he
+does not feel with Democritus, Epicurus, and
+Lucretius that "Dust thou art, to dust returnest"
+is spoken of soul as well as body. The
+old Roman instinct for ancestor-communion is
+too strong in him for that. But he acquiesces
+in their doctrine in so far as shadowy existence
+in another world inspires in him no pleasing
+hope. He displays no trace of the faith in
+the supernatural which accompanies the Christian
+hope of happy immortality. He contains
+none of the expressions of yearning for communion
+with the divine, of self-abasement in
+the presence of the eternal, which belong to
+Christian poetry. The flights of his muse
+rarely take him into the realm of a divine love
+and providence. His aspirations are for things
+achievable in this world: for faithfulness in
+friendship, for enduring courage, for irreproachable
+patriotism,&#8212;in short, for ideal
+<i>human</i> relations.
+<a id="Page_093" name="Page_093"></a><span class="pagenum">093</span></p>
+
+<p>Horace's idealism is not Christian idealism,
+and is only in a limited way even spiritual
+idealism. When he prays, it is likely to be
+for others rather than himself, and for temporal
+blessings only: for the success of Augustus at
+home and in the field, for prolongation of
+Maecenas' life and happiness, for the weal of
+the State, for the nurslings of his little flock,
+for health of body and contentment of heart.
+His dwelling is not in the secret place of the
+Most High. Philosophy, not religion, is his
+refuge and his fortress. In philosophy, not in
+God, will he trust.</p>
+
+<p>In a word, Horace is logical, self-reliant, and
+self-sufficient. He sees no happy future after
+this life, is conscious of no providence watching
+over him, is involved in no obligation to the
+beings of an eternal world. He looks this
+world and the next, gods and men, directly in
+the face, and expects other men to do the same.
+Life and its duties are for him clear-cut. He
+is no propounder of problems, no searcher after
+hidden purposes. He lacks almost absolutely
+the feverish aspiration and unrest which
+characterize Christian and other humanitarian
+modes of thought and sentiment, and whose
+manifestation is one of the best known features
+<a id="Page_094" name="Page_094"></a><span class="pagenum">094</span>
+of recent modern times, as it was of the earliest
+Christian experience.</p>
+
+<p>But Christianity was a religion of men, and
+therefore human. If its exaggerations were
+natural, its reservations and its reactions were
+also natural. There were men whose admiration
+continued to be roused and whose affections
+continued to be touched by Virgil and Horace.
+There were men whose reason as well as whose
+instinct impelled them to employ the classic
+authors and the classic arts in the service of the
+new religion. Christianity possessed no distinct
+and separate media of expression and no
+separate body of knowledge which could bear
+fruit as matter of instruction. Pagan art and
+literature were indispensable whether for the
+study of history or of mere humanity. Christianity
+was therefore compelled to employ the
+old forms of art, which involved the use of
+the old instrumentalities of literary education.
+When, finally, paganism had fallen
+under its repeated assaults, what had been
+forced use became a matter of choice,
+and the classics were taken under the
+Church's protection and marked with her
+approval.</p>
+
+<p>The data regarding Horace in the Middle
+<a id="Page_095" name="Page_095"></a><span class="pagenum">095</span>
+Age are few, but they are clear. We need not
+examine them all in order to draw conclusions.</p>
+
+<p>The monastic idea, of eastern origin and
+given currency in the West by Jerome, was
+first reduced to systematic practice by Benedict,
+who created the first Rule at Monte
+Cassino about the time of the Mavortian recension
+of Horace, in 527. New moral strength
+issued from the cloisters now rapidly established.
+Cassiodorus, especially active in promoting
+the spiritual phase of monkish retreat,
+made the intellectual life also his concern.
+Monte Cassino, between Naples and Rome,
+and Bobbio, in the northern part of the peninsula,
+were the great Italian centers. The
+Benedictine influence spread to Ireland, which
+before the end of the sixth century became a
+stronghold of the movement and an inspiration
+to England, Germany, France, and even Italy,
+where Bobbio itself was founded by Columban
+and his companions. St. Gall in Switzerland,
+Fulda at Hersfeld in Hesse-Nassau, Corvey in
+Saxony, Iona in Scotland, Tours in France,
+Reichenau on Lake Constance, were all active
+centers of religion and learning within two
+hundred years from Benedict's death.</p>
+
+<p>The monasteries not only afforded the spiritual
+<a id="Page_096" name="Page_096"></a><span class="pagenum">096</span>
+enthusiast the opportunity of separation
+from the world of temptation and storm, but
+were equally inviting to men devoted first of
+all to the intellectual life. The scholar and
+the educator found within their walls not only
+peaceful escape from the harshnesses of political
+change and military broil, but the opportunity
+to labor usefully and unmolested in the
+occupation that pleased them most. The
+cloister became a Christian institute. The
+example of Cassiodorus was followed two hundred
+years later on a larger scale by Charlemagne.
+Schools were founded both in cloister
+and at court, scholars summoned, manuscripts
+copied, the life of pagan antiquity studied, and
+the bond between the languages and cultures
+of present and past made firmer. The schools
+of the old régime had fallen away in the sixth
+century, when Northern rule had closed the
+civic career to natives of Italy. A great advance
+in the intellectual life now laid the foundations
+of all cultural effort in the Middle Age.</p>
+
+<p>No small part of this advance was due to
+the preservation of manuscripts by copying.
+In this activity France was first, so far as
+Horace was concerned. The copies by the
+scribes of Charlemagne went back to Mavortius
+<a id="Page_097" name="Page_097"></a><span class="pagenum">097</span>
+and Porphyrio, the originals of which were
+probably discovered at Bobbio by his scholars.
+Of the two hundred and fifty manuscripts in
+existence, the greater part are French in origin,
+the oldest being the Bernensis, of the ninth or
+tenth century, from near Orléans. Germany
+was a worthy second to France. The finds in
+monastery libraries of both countries in the
+humanist movement of the fifteenth century
+were especially rich. Italy, on the contrary,
+preserved few manuscripts of her poet, and
+none that is really ancient. Italy began the
+great monastery movement, but disorder and
+change were against the diffusion of culture.
+Charlemagne's efforts probably had little to do
+with Italy. The Church seems to have had
+no care to preserve the ancient culture of her
+native land.</p>
+
+<p>What this meant in terms of actual acquaintance
+with the poet would not be clear without
+evidence of other kinds. By the end of the
+sixth century, knowledge of Horace was already
+vague. He was not read in Africa, Spain, or
+Gaul. Read in Italy up to Charlemagne's
+time, a hundred years later his works are not
+to be found in the catalogue of Bobbio, one
+of the greatest seats of learning. What the
+<a id="Page_098" name="Page_098"></a><span class="pagenum">098</span>
+general attitude of the Church's leadership
+toward him was, may be conjectured from the
+declaration of Gregory the Great against all
+beauty in writing. Its general capacity for
+Horace may perhaps be surmised also from
+the confession of the Pope's contemporary,
+Gregory of Tours, that he is unfamiliar with
+the ancient literary languages. The few readers
+of the late Empire had become fewer still.
+The difficult form and matter of the <i>Odes</i>, and
+their unadaptability to religious and moral use,
+disqualified them for the approval of all but
+the individual scholar or literary enthusiast.
+The moralities of the <i>Epistles</i> were more tractable,
+and formed the largest contribution to
+the <i>Florilegia</i>, or flower-collections, that were
+circulated by themselves. Horace did not contain
+the facile and stimulating tales of Ovid,
+he was not a Virgil the story-teller and almost
+Christian, his lines did not exercise a strong
+appeal to the ear, he was not an example of the
+rhetorical, like Lucan, his satire did not lend
+itself, like a Juvenal's, to universal condemnation
+of paganism.</p>
+
+<p>In the eighth century, Columban knows
+Horace, the Venerable Bede cites him four
+times, and Alcuin is called a Flaccus. The
+<a id="Page_099" name="Page_099"></a><span class="pagenum">099</span>
+York catalogue of Alcuin shows the presence
+of most of the classic authors. Paul the
+Deacon, who wrote a poem in the Sapphics
+he learned from Horace, is declared, he says,
+to be like Homer, Flaccus, and Virgil, but ungratefully
+and ungraciously adds, "men like
+that I'll compare with dogs." In Spain, Saint
+Isidore of Seville knew Horace in the seventh
+century, though the Rule of Isidore, as of
+some other monastic legislators, forbade the
+use of pagan authors without special permission;
+yet the coming of the Arabs in the eighth
+century, and the struggle between the Gothic,
+Christian, and Islamic civilizations resulted, for
+the next six or seven centuries, in what seems
+total oblivion of the poet.</p>
+
+<p>In the ninth and tenth centuries, under the
+impulse of the Carolingian favor, France, in
+which there is heretofore no evidence of
+Horace's presence from the end of Roman
+times, becomes the greatest center of manuscript
+activity, the Bernensis and six Parisian
+exemplars dating from this period. Yet the
+indexes of St. Gall, Reichenau, and Bobbio
+contain the name of no work of Horace, and
+only Nevers and Loesch contained his complete
+works. The <i>Ecbasis Captivi</i>, an animal-epic
+<a id="Page_100" name="Page_100"></a><span class="pagenum">100</span>
+appearing at Toul in 940, has one fifth of
+its verses formed out of Horace in the manner
+of the <i>cento</i>, or patchwork. At about the same
+time, the famous Hrosvitha of Gandersheim
+writes her six Christian dramas patterned after
+Terence, and in them uses Horace. Mention
+by Walter of Speyer, and interest shown by
+the active monastery on the Tegernsee, are
+of the same period. The tenth century is sometimes
+spoken of as the Latin Renaissance under
+the Ottos, the first of whom, called the Great,
+crowned Emperor at Rome in 962, welcomed
+scholars at his court and made every effort to
+promote learning.</p>
+
+<p>The momentum of intellectual interest is
+not lost in the eleventh century. Paris becomes
+its most ardent center, with Reims,
+Orléans, and Fleury also of note. The <i>Codex
+Parisinus</i> belongs to this period. German
+activity, too, is at its height, especially in the
+education of boys for the church. Italy affords
+one catalogue mention, of a Horace copied
+under Desiderius. Peter Damian was its man
+of greatest learning, but the times were intellectually
+stagnant. The popes were occupied
+by rivalry with the emperors. It was the century
+of Gregory the Seventh and Canossa.
+<a id="Page_101" name="Page_101"></a><span class="pagenum">101</span></p>
+
+<p>In the twelfth century came the struggle of
+the Hohenstaufen with the Italian cities, and
+the disorder and turmoil of the rise of the
+communes and the division of Italy. One
+catalogue shows a Horace, and one manuscript
+dates from the time. England and France are
+united by the Norman Conquest in much the
+same way as Germany and France had been
+associated in the kingdom of Charlemagne.
+It is the century of Roger Bacon. Especially
+in Germany, England, and France, it is the
+age of the Crusades and the knightly orders.
+It is an age of the spread of culture among the
+common people. In France, it is the age of
+the monastery of Cluny, and the age of Abelard.
+Education and travel became the mode.
+In general, acquaintance with Horace among
+cultivated men may now be taken for granted.
+The <i>Epistles</i> and <i>Satires</i> find more favor than
+the <i>Odes</i>. Five hundred and twenty citations
+of the former and seventy-seven of the latter
+have been collected for the twelfth century.</p>
+
+<p>The thirteenth century marks a decline in
+the intellectual life. The Crusades exhaust the
+energies of the time, and detract from its literary
+interest. The German rulers and the
+Italian ecclesiasts are absorbed in the struggle
+<a id="Page_102" name="Page_102"></a><span class="pagenum">102</span>
+for supremacy between pope and emperor.
+Scholasticism overshadows humanism. The
+humanistic tradition of Charlemagne has died
+out, and the intellectual ideal is represented by
+Vincent of Beauvais and the <i>Speculum Historiale</i>.
+There is no mention of Horace in the
+catalogues of Italy. The manuscripts of
+France are careless, the comments and glosses
+poor. The decline will continue until arrested
+by the Renaissance.</p>
+
+<p>It must not be forgotten that among all these
+scattered and flickering attentions to Horace
+there was the constant nucleus of instruction
+in the school. That he was used for this purpose
+first in the Carolingian cloister-schools,
+and later in the secular schools which grew to
+independent existence as a result of the vigorous
+spread of educational spirit, cannot be
+doubtful. Gerbert, dying at the beginning of
+the eleventh century as Pope Sylvester II, is
+known to have interpreted Horace in his
+school. This is the oldest direct evidence of
+the scholastic use of Horace, but other proofs
+are to be seen in the commentaries of the medieval
+period, all of which are of a kind suitable
+for school use, and in the marginal annotations,
+often in the native tongue.
+<a id="Page_103" name="Page_103"></a><span class="pagenum">103</span></p>
+
+<p>The decline of humane studies in the thirteenth
+and fourteenth centuries meant also
+the decline of interest in Horace, who had
+always been above all the poet of the cultivated
+few. At the beginning of the thirteenth
+century in Italy, nowhere but at Bologna and
+Rome was Latin taught except as the elementary
+instruction necessary to the study of civil
+and canonical law. Gaufried of Vinesaux,
+coming from England to Italy, and composing
+an <i>Ars Dictaminis</i> and a <i>Poietria Nova</i> containing
+Horatian reminiscences, is one of two
+or three significant examples of Latin teachers
+who concerned themselves with literature as
+well as language. Coluccio Salutati, wanting
+to buy a copy of Horace in 1370, is apparently
+unable to find it. The decline of interest in
+Horace will be arrested only by the Rebirth of
+Learning.</p>
+
+<p>The intellectual movement back to the classical
+authors and the classical civilizations is
+well called the Rebirth. The brilliance of the
+new era as compared with the thousand years
+that lead to it from the most high and palmiest
+days of Rome is such as to dim almost to darkness
+the brightest days of medieval culture.
+The new life into which Horace is now to
+<a id="Page_104" name="Page_104"></a><span class="pagenum">104</span>
+enter will be so spirited and full that the old
+life, though by no means devoid of active influence
+in society at large and in the individual
+soul, will seem indeed like a long death and a
+waiting for the resurrection into a new heaven
+and a new earth.</p>
+
+
+<h3>4. <span class="sc">Horace and Modern Times</span></h3>
+
+<h4>THE REBIRTH OF HORACE</h4>
+
+<p>The national character of the <i>Aeneid</i> gave
+Virgil a greater appeal than Horace in ancient
+Roman times. In the Middle Age, his qualities
+as story-teller and poet of the compassionate
+heart, together with his fame as necromancer
+and prophet, made still more pronounced the
+favor in which he was held. The ignorance
+of the earlier centuries of the period could not
+appreciate Horace the logical, the intellectual,
+the difficult, while the schematized religion and
+knowledge of the later were not attracted by
+Horace the philosophical and individual.</p>
+
+<p>With the Renaissance and its quickening of
+intellectual life in general, and in particular
+the value it set upon personality and individualism,
+the positions of the poets were reversed.
+For four hundred years now it can
+<a id="Page_105" name="Page_105"></a><span class="pagenum">105</span>
+hardly be denied that Horace rather than Virgil
+has been the representative Latin poet of
+humanism.</p>
+
+<p>This is not to say that Horace is greater than
+Virgil, or that he is as great. Virgil is still the
+poet of stately movement and golden narrative,
+the poet of the grand style. Owing to the
+greater facility with which he may be read, he
+is also still the poet of the young and of greater
+numbers. With the coming of the new era
+he did not lose in the esteem that is based upon
+the appreciation of literary art, but rather
+gained.</p>
+
+<p>It will be better to say that Horace finally
+came more fully into his own. This was not
+because he changed. He did not change.
+The times changed. The barriers of intellectual
+sloth and artificiality fell away, and men
+became accessible to him. Virgil lost nothing
+of his old-time appeal to the fancy and to the
+ear, but Horace's virtues also were discovered:
+his distinction in word and phrase, his understanding
+of the human heart. Virgil lost
+nothing of his charm for youth and age,
+but Horace was discovered as the poet of the
+riper and more thoughtful mind. Virgil remained
+the admired, but Horace became the
+<a id="Page_106" name="Page_106"></a><span class="pagenum">106</span>
+friend. Virgil remained the guide, but Horace
+became the companion. "Virgil," says Oliver
+Wendell Holmes, "has been the object of an
+adoration amounting almost to worship, but
+he will often be found on the shelf, while
+Horace lies on the student's table, next his
+hand."</p>
+
+<p>The nature and extent of Horace's influence
+upon modern letters and life will be best
+brought into relief by a brief historical review.
+It is not necessary to this purpose, nor would
+it be possible, within ordinary limits, to enter
+into a detailed account. It will be appropriate
+to begin with Italy.</p>
+
+
+<h4><i>i</i>. IN ITALY</h4>
+
+<p>Horace did not spring immediately into
+prominence with the coming of the Renaissance,
+whether elsewhere or in Italy. As might
+be expected, the essentially epic and medieval
+Dante found inspiration in Virgil rather than
+in Horace, though the <i>Ars Poetica</i> was known
+to him and quoted more than once as authority
+on style. "This is what our master Horace
+teaches," runs one of the passages, "when at
+the beginning of <i>Poetry</i> he says, 'Choose a
+<a id="Page_107" name="Page_107"></a><span class="pagenum">107</span>
+subject, etc.'" The imperfect idea of Horace
+formed in Dante's mind is indicated by the one
+verse in the <i>Divina Commedia</i> which refers
+to him:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  L' altro è Orazio satiro che viene,&#8212;</div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>he other coming is Horace the satirist</i>.</div>
+</div></div>
+
+<p>With Petrarch, the first great figure to emerge
+from the obscure vistas of medievalism, the
+case was different. The first modern who
+really understood the classics understood
+Horace also, and did him greater justice than
+fell to his lot again for many generations. The
+copy of Horace's works which he acquired on
+November 28, 1347, remained by him until on
+the 18th of July in 1374 the venerable poet and
+scholar was found dead at the age of seventy
+among his books. Fond as he was of Virgil,
+Cicero, and Seneca, he had an intimate and
+affectionate knowledge of Horace, to whom
+there are references in all his works, and from
+whom he enriched his philosophy of life. Even
+his greatest and most original creation, the
+<i>Canzoniere</i>, is not without marks of Horace,
+and their fewness here, as well as their character,
+are a sign that Petrarch's familiarity was
+<a id="Page_108" name="Page_108"></a><span class="pagenum">108</span>
+not of the artificial sort, but based on real
+assimilation of the poet. His letter to Horace
+begins:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i1">    Salve o dei lirici modi sovrano,</div>
+<div class="i1">    Salve o degl' Itali gloria ed onor,&#8212;</div>
+</div>
+<div class="stanza">
+<div class="i0">  H<i>ail! Sovereign of the lyric measure</i>,</div>
+<div class="i0">  H<i>ail! Italy's great pride and treasure</i>;</div>
+</div></div>
+
+<p>and, after recounting the qualities of the poet,
+and acknowledging him as guide, teacher, and
+lord, concludes:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i1">    Tanto è l' amor che a te m'avvince; tanto</div>
+<div class="i2">      È degli affetti miei donno il tuo canto&#8212;</div>
+</div>
+<div class="stanza">
+<div class="i0">  S<i>o great the love that bindeth me to thee</i>;</div>
+<div class="i0">  S<i>o ruleth in my heart thy minstrelsy</i>.</div>
+</div></div>
+
+<p>But Petrarch is a torch-bearer so far in advance
+of his successors that the illumination
+almost dies out again before they arrive. It
+was not until well into the fifteenth century
+that the long and numerous line of imitators,
+translators, adapters, parodists, commentators,
+editors, and publishers began, which has continued
+to the present day. The modern-Latin
+poets in all countries were the first, but their
+efforts soon gave place to attempts in the
+vernacular tongues. The German Eduard
+<a id="Page_109" name="Page_109"></a><span class="pagenum">109</span>
+Stemplinger, in his <i>Life of the Horatian Lyric
+Since the Renaissance</i>, published in 1906,
+knows 90 English renderings of the entire <i>Odes</i>
+of Horace, 70 German, 100 French, and 48
+Italian. Some are in prose, some even in dialect.
+The poet of Venusia is made a Burgundian,
+a Berliner, and even a Platt-deutsch.
+All of these are attempts to transfuse Horace
+into the veins of modern life, and are significant
+of their authors' conviction as to the
+vitalizing power of the ancient poet. No author
+from among the classics has been so frequently
+translated as Horace.</p>
+
+<p>Petrarch, as we have seen, led the modern
+world by a century in the appreciation of
+Horace. It was in 1470, ninety-six years after
+the laureate's death, that Italy achieved the
+first printed edition of the poet, which was also
+the first in the world. This was followed in
+1474 by a printing of Acro's notes, grown by
+accretion since their origin in the third century
+into a much larger body of commentary. In
+1476 was published the first Horace containing
+both text and notes, which were those of Acro
+and Porphyrio, and in 1482 appeared Landinus's
+notes, the first printed commentary on
+Horace by a modern humanist. Landinus was
+<a id="Page_110" name="Page_110"></a><span class="pagenum">110</span>
+prefaced by a Latin poem of Politian's, who,
+with Lorenzo dei Medici, was a sort of arbiter
+in taste, and who produced in 1500 a Horace of
+his own. Mancinelli, who, like many other
+scholars of the time, gave public readings and
+interpretations of Horace and other classics, in
+1492 dedicated to the celebrated enthusiast
+Pomponius Laetus an edition of the <i>Odes</i>,
+<i>Epodes</i>, and <i>Secular Hymn</i>, in which he so
+successfully integrated the comments of Acro,
+Porphyrio, Landinus, and himself, that for the
+next hundred years it remained the most
+authoritative Horace. In Italy, between 1470
+and 1500, appeared no fewer than 44 editions
+of the poet, while in France there were four
+and in Germany about ten. Venice alone
+published, from 1490 to 1500, thirteen editions
+containing text and commentary by "The
+Great Four," as they were called. The famous
+Aldine editions began to appear in 1501. Besides
+Venice, Florence, and Rome, Ferrara
+came early to be a brilliant center of Horatian
+study, Lionel d'Este and the Guarini preparing
+the way for the more distinguished, if less
+scholastic, discipleship of Ariosto and Tasso.
+Naples and the South displayed little activity.</p>
+
+<p>Roughly speaking, the later fifteenth century
+<a id="Page_111" name="Page_111"></a><span class="pagenum">111</span>
+was the age of manuscript recovery, commentary,
+and publication; the sixteenth, the century
+of translation, imitation, and ambitious attempt
+to rival the ancients on their own ground;
+the seventeenth and eighteenth, the centuries
+of critical erudition, with many commentaries
+and versions and much discussion of the theory
+of translation; and the nineteenth, the century
+of scientific revision and reconstruction. In
+the last movement, Italy had comparatively
+small part. Among her translators during these
+centuries must be mentioned Ludovico Dolce,
+whose excellent rendering of the <i>Satires</i> and
+<i>Epistles</i> was a product of the early sixteenth;
+Scipione Ponsa, whose faithful <i>Ars Poetica</i> in
+<i>ottava rima</i> appeared in the first half of the
+seventeenth; the advocate Borgianelli, whose
+brilliant version of Horace entire belongs to the
+second half; and the Venetian Abriani, whose
+complete <i>Odes</i> in the original meters, the first
+achievement of the kind, was a not unsuccessful
+performance which has taken its place
+among Horatian curiosities. Among literary
+critics are the names of Gravina, whose <i>Della
+Ragione Poetica</i>, full of sound scholarship and
+refreshing good sense, appeared in 1716 at
+Naples; Volpi of Padua, author of a treatise on
+<a id="Page_112" name="Page_112"></a><span class="pagenum">112</span>
+Satire, in which the merits of Lucilius, Horace,
+Juvenal, and Persius were effectively discussed;
+and their followers, Algarotti the Venetian
+and Vannetti of Roveredo, in whom Horatian
+criticism reached its greatest altitude.</p>
+
+<p>If we look outside the field of scholastic
+endeavor and academic imitation, and attempt
+to discern the effect of Horace in actual literary
+creation, we are confronted by the difficulty
+of determining exactly where imitation and
+adaptation cease to be artificial, and reach the
+degree of individuality and independence which
+entitles them to the name of originality. If
+we are to include here such authors as are
+manifestly indebted to suggestion or inspiration
+from Horace, and yet are quite as manifestly
+modern and Italian, we may note at least the
+names of Petrarch, already mentioned; the
+famous Cardinal Bembo, whose ideal, to write
+"thoughtfully and little," was a reflection of
+Horace; Ariosto, whose satires are in the Horatian
+spirit, and who, complaining to his brother
+Alessandro of the attitude of his patron, Cardinal
+Hippolyto d'Este, recites the story of
+the fox and the weasel, changing them to
+donkey and rat; Chiabrera of Savona, who
+wrote satire honeycombed with Horatian allusion
+<a id="Page_113" name="Page_113"></a><span class="pagenum">113</span>
+and permeated by Horatian spirit, and
+who, in Leopardi's opinion, had he lived in a
+different age, would have been a second
+Horace; Testi of Ferrara, whom Ariosto's enthusiasm
+for Horace so kindled that he gravitated
+from the modern spirit to the classical;
+Parini of Milan, whose poem, <i>Alla Musa</i>, is
+Horatian in spirit and phrase; Leopardi, who
+composed a parody on the <i>Ars Poetica</i>; Prati,
+who transmuted <i>Epode II</i> into the <i>Song of
+Hygieia</i>; and Carducci, whose use of Horatian
+meters, somewhat strained, is due to the conscious
+desire of making Italy's past greatness
+serve the present. The names of Bernardo
+Tasso and Torquato Tasso might be added.</p>
+
+<p>It is not impossible, also, that the musical
+debt of the world to Italy is in a measure owing
+to Horace. Whether the music which accompanied
+the <i>Odes</i> as they emerged from the
+Middle Age was only the invention of monks,
+or the survival of actual Horatian music from
+antiquity, is a question hardly to be answered;
+but the setting of Horace to music in the
+Renaissance was not without an influence. In
+1507, Tritonius composed four-voice parts for
+twenty-two different meters of Horace and
+other poets. In 1526, Michael engaged in the
+<a id="Page_114" name="Page_114"></a><span class="pagenum">114</span>
+same effort, and in 1534 Senfl developed the
+youthful compositions of Tritonius. All this
+was for school purposes. With the beginnings
+of Italian opera, these compositions, in which
+the music was without measure and held strictly
+to the service of poetry, came to an end. It
+is not unreasonable to suspect that in these
+early attempts at the union of ancient verse
+and music there exist the beginnings of the
+musical drama.</p>
+
+
+<h4><i>ii</i>. IN FRANCE</h4>
+
+<p>France, where the great majority of Horatian
+manuscripts were preserved, was the first to
+produce a translation of the <i>Odes</i>. Grandichan
+in 1541, and Pelletier in 1545, published translations
+of the <i>Ars Poetica</i> which had important
+consequences. The famous Pleiad, whose most
+brilliant star, Pierre de Ronsard, was king of
+poetry for more than a score of years, were
+enthusiastic believers in the imitation of the
+classics as a means for the improvement of letters
+in France. Du Bellay, the second in magnitude,
+published in 1550 his <i>Deffence et illustration
+de la langue françoyse</i>, a manifesto of
+the Pleiad full of quotations from the
+<a id="Page_115" name="Page_115"></a><span class="pagenum">115</span>
+<i>Ars Poetica</i> refuting a similar work of Sibilet published
+in 1548. Ronsard himself is said to have
+been the first to use the word "ode" for Horace's
+lyrics. The meeting of the two, in 1547,
+is regarded as the beginning of the French
+school of Renaissance poetry. Horace thus became
+at the beginning an influence of the first
+magnitude in the actual life of modern French
+letters. In 1579 appeared Mondot's complete
+translation. The versions of Dacier and Sanadon,
+in prose, in the earlier eighteenth century,
+were an innovation provoking spirited opposition
+in Italy. The line of translators, imitators,
+and enthusiasts in France is as numerous
+as that of other countries. The list of great
+authors inspired by Horace includes such
+names as Montaigne, "The French Horace,"
+Malherbe, Regnier, Boileau, La Fontaine,
+Corneille, Racine, Molière, Voltaire, Jean
+Baptiste Rousseau, Le Brun, André Chénier,
+De Musset.</p>
+
+
+<h4><i>iii</i>. IN GERMANY</h4>
+
+<p>In Germany, the Renaissance movement had
+its pronounced beginning at Heidelberg. In
+that city began also the active study of Horace,
+<a id="Page_116" name="Page_116"></a><span class="pagenum">116</span>
+in the lectures on Horace in 1456. The
+<i>Epistles</i> were first printed in 1482 at Leipzig,
+the <i>Epodes</i> in 1488, and in 1492 appeared the
+first complete Horace. Up to 1500, about ten
+editions had been published, only those of 1492
+and 1498 being Horace entire, and none of
+them with commentary except that of 1498,
+which had a few notes and metrical signs to
+indicate the structure of the verse. The first
+German to translate a poem of Horace was
+Johann Fischart, 1550-90, who rendered the
+second <i>Epode</i> in 145 rhymed couplets. The
+famous Silesian, Opitz, "father of German
+poetry," and his followers, were to Germany
+what the Pleiad were to France. His work on
+poetry, 1624, was grounded in Horace, and
+was long the canon. Bucholz, in 1639, produced
+the first translation of an entire book of
+the <i>Odes</i> in German. Weckherlin, 1548-1653,
+translated three <i>Odes</i>, Gottsched of Leipzig,
+1700-66, and Breitinge of Zurich, confess
+Horace as master of the art of poetry, and their
+cities become the centers of many translations.
+Günther, 1695-1728, the most gifted lyric poet
+of his race before Klopstock, made Horace his
+companion and confidant of leisure hours.
+Hagedorn, 1708-54, forms his philosophy from
+<a id="Page_117" name="Page_117"></a><span class="pagenum">117</span>
+Horace,&#8212;"my friend, my teacher, my companion."
+Of Ramler, for thirty-five years
+dictator of the Berlin literary world, who translated
+and published some of the <i>Odes</i> in 1769
+and was called the German Horace, Lessing
+said that no sovereign had ever been so beautifully
+addressed as was Frederick the Great in
+his imitation of the Maecenas ode. The epoch-making
+Klopstock, 1724-1803, quotes, translates,
+and imitates Horace, and uses Horatian
+subjects. Heinse reads him and writes of him
+enthusiastically, and Platen, 1796-1835, is so
+full of Homer and Horace that he can do
+nothing of his own. Lessing and Herder
+are devoted Horatians, though Herder thinks
+that Lessing and Winckelmann are too unreserved
+in their enthusiasm for the imitation
+of classical letters. Goethe praises Horace for
+lyric charm and for understanding of art and
+life, and studies his meters while composing the
+<i>Elegies</i>. Nietzsche's letters abound in quotation
+and phrase. Even the Church in Germany
+shows the impress of Horace in some of her
+greatest hymns, which are in Alcaics and Sapphics
+of Horatian origin. To speak of the
+German editors, commentators, and critics of
+the nineteenth century would be almost to review
+<a id="Page_118" name="Page_118"></a><span class="pagenum">118</span>
+the history of Horace in modern school
+and university; such has been the ardor of the
+German soul and the industry of the German
+mind.</p>
+
+
+<h4><i>iv</i>. IN SPAIN</h4>
+
+<p>A glance at the use of Horace in Spain will
+afford not the least edifying of modern examples.
+The inventories of Spanish libraries in
+the Middle Age rarely contain the name of
+Horace, or the names of his lyric brethren,
+Catullus, Tibullus, and Propertius. Virgil,
+Lucan, Martial, Seneca, and Pliny are much
+more frequent. It was not until the fifteenth
+century that reminiscences of the style and
+ideas of Horace began to appear in quantity.
+Imitation rather than translation was the
+vehicle of Spanish enthusiasm. The fountain
+of Horatianism in Spain was the imitation of
+<i>Epode II</i>, <i>Beatus Ille</i>, by the Marquis de Santillana,
+one of Castile's two first sonneteers, in
+the first half of the fifteenth century. Garcilaso
+also produced many imitations of the
+<i>Odes</i>. The Horatian lyric seemed especially
+congenial to the Spanish spirit and language.
+Fray Luís de León, of Salamanca, the first
+real Spanish poet, and the most inspired of all
+<a id="Page_119" name="Page_119"></a><span class="pagenum">119</span>
+the Spanish lovers of Horace, was an example
+of the poet translating the poet where both
+were great men. He not only brought back
+to life once more "that marvelous sobriety,
+that rapidity of idea and conciseness of phrase,
+that terseness and brilliance, that sovereign
+calm and serenity in the spirit of the artist,"
+which characterized the ancient poet, but added
+to the Horatian lyre the new string of Christian
+mysticism, and thus wedded the ancient and
+the modern. "Luís de León is our great
+Horatian poet," says Menéndez y Pelayo.
+Lope de Vega wrote an <i>Ode to Liberty</i>, and
+was influenced by the <i>Epistles</i>. The <i>Flores de
+Poetas ilustres de España</i>, arranged by Pedro
+Espinosa and published in 1605 at Valladolid,
+included translations of eighteen odes. Hardly
+a lyric poet of the eighteenth century failed to
+turn some part of Horace into Spanish. Salamanca
+perfected the ode, Seville the epistle,
+Aragon the satire. Mendoza in his nine
+<i>Epistles</i> shows his debt to Horace. In 1592,
+Luís de Zapata published at Lisbon a not very
+successful verse translation of the <i>Ars Poetica</i>.
+In 1616, Francisco de Cascales of Murcia published
+<i>Fablas Poeticas</i>, containing in dialogue
+the substance of the same composition, which
+<a id="Page_120" name="Page_120"></a><span class="pagenum">120</span>
+had been translated by Espinel, 1551-1624,
+and which was translated again in 1684, twice
+in 1777, and in 1827. Seville founded a Horatian
+Academy. The greatest of the Spanish
+translators of Horace entire was Javier de
+Burgos, whose edition of four volumes, 1819-1844,
+is called by Menéndez y Pelayo the only
+readable complete translation of Horace, "one
+of the most precious and enviable jewels of our
+modern literature," and "perhaps the best of
+all Horaces in the neo-Latin tongues." The
+nearest rival of Burgos was Martinez de la
+Rosa. The greatest Spanish scholar and critic
+of Horace is Menéndez y Pelayo, editor of the
+<i>Odes</i>, 1882, and author of <i>Horacio en España</i>,
+1885.</p>
+
+<p>In the index of <i>Horacio en España</i> are to
+be found the names of 165 Castilian translators
+of the poet, 50 Portuguese, 10 Catalan,
+2 Asturian, and 1 Galician. There appear the
+names of 29 commentators. Of complete
+translations, there are 6 Castilian and 1 Portuguese;
+of complete translations of the <i>Odes</i>,
+6 Castilian and 7 Portuguese; of the <i>Satires</i>,
+1 Castilian and 2 Portuguese; of the <i>Epistles</i>,
+1 Castilian and 1 Portuguese; of the <i>Ars
+Poetica</i>, 35 Castilian, 11 Portuguese, and 1
+<a id="Page_121" name="Page_121"></a><span class="pagenum">121</span>
+Catalan. The sixteenth century translators
+were distinguished in general by facility and
+grace, the freshness and abandon of youth,
+and a considerable degree of freedom, or even
+license. Those of the eighteenth show a gain
+in accuracy and a loss in spirit.</p>
+
+
+<h4><i>v</i>. IN ENGLAND</h4>
+
+<p>The appeal of Horace in England and English-speaking
+countries has been as fruitful as
+elsewhere in scholarship, with the possible exception
+of Germany. In its effect upon the
+actual fibre of literature and life, it has been
+more fruitful.</p>
+
+<p>A review of Horatian study in England would
+include the names of Talbot and Baxter, but,
+above all, of the incomparably brilliant Richard
+Bentley, despite his excesses, themselves due
+to his very genius, the most famous and most
+stimulating critic and commentator of Horace
+the world has seen. His edition, appearing in
+1711, provoked in 1717 the anti-Bentleian
+rejoinder of Richard Johnson, and in 1721 the
+more ambitious but equally unsuccessful attempt
+to discredit him by the Scotch Alexander
+Cunningham. The primacy in the study of
+<a id="Page_122" name="Page_122"></a><span class="pagenum">122</span>
+Horace which Bentley conferred upon England
+had been enjoyed previously by the Low
+Countries and France, to which it had passed
+from Italy in the second half of the sixteenth
+century. The immediate sign of this transfer
+of the center to northern lands was the publication
+in 1561 at Lyons of the edition containing
+the text revision and critical notes of
+Lambinus and the commentary of the famous
+Cruquius of Bruges. The celebrated Scaliger
+was unfavorably disposed to Horace, who found
+a defender in Heinsius, another scholar of the
+Netherlands. D'Alembert, who became a sort
+of <i>Ars Poetica</i> to translators, published his
+<i>Observations</i> at Amsterdam in 1763.</p>
+
+<p>An account of the English translations of
+the poet would include many renderings of
+individual poems, such as those of Dryden,
+Sir Stephen E. De Vere, and John Conington,
+and the version of Theodore Martin, probably
+the most successful complete metrical translation
+of Horace in any language. It is literally
+true that "every theory of translation has
+been exemplified in some English rendering
+of Horace."</p>
+
+<p>It is in the field of literature, however, that
+the manifestations of Horace's hold upon the
+<a id="Page_123" name="Page_123"></a><span class="pagenum">123</span>
+English are most numerous and most significant.
+Even Shakespeare's "small Latin" includes
+him, in <i>Titus Andronicus</i>:</p>
+
+<p class="zero">
+Demetrius.</p>
+
+<p class="zero">W<i>hat's here? A scroll, and written round about!</i><br />
+L<i>et's see</i>:</p>
+
+<div class="poem"><div class="stanza">
+<div class="i2">      Integer vitae scelerisque purus</div>
+<div class="i2">      Non eget Mauri jaculis nec arcu.</div>
+</div></div>
+
+<p class="zero">Chiron.</p>
+
+<div class="poem"><div class="stanza">
+<div class="i1">  O<i>, 'tis a verse in Horace; I know it well</i>:</div>
+<div class="i1">  I<i> read it in the grammar long ago</i>.</div>
+</div></div>
+
+<p>The mere mention of English authors in
+poetry and prose who were touched and kindled
+by the Horatian flame would amount to a review
+of the whole course of English literature.
+It would begin principally with Spenser and
+Ben Jonson, who in some measure represented
+in their land what the Pleiad meant in France,
+and Opitz and his following in Germany.
+"Steep yourselves in the classics," was Jonson's
+counsel, and his countrymen did thus
+steep themselves to such a degree that it is
+possible for the student to say of Milton's
+times: "The door to English literature and
+<a id="Page_124" name="Page_124"></a><span class="pagenum">124</span>
+history of the seventeenth century is open wide
+to those who are at ease in the presence of
+Latin. Many writings and events of the time
+may doubtless be understood and enjoyed by
+readers ignorant of the classics, but to them
+the heart and spirit of the period as a whole
+will hardly be revealed. Poetry, philosophy,
+history, biography, controversy, sermons, correspondence,
+even conversation,&#8212;all have
+come down to us from the age of Milton either
+written in or so touched with Latin that one is
+compelled to enter seventeenth century England
+by way of Rome as Rome must be entered
+by way of Athens."</p>
+
+<p>Great as was the vogue of Latin in the earlier
+centuries, it was the first half of the eighteenth,
+the most critical period in English letters, that
+realized to the full the virtues of Horace. His
+words in the <i>Ars Poetica</i> "were accepted, even
+more widely than the laws of Aristotle, as the
+standard of critical judgment. Addison and
+Steele by their choice of mottoes for their
+periodicals, Prior by his adoption of a type
+of lyric that has since his time been designated
+as Horatian, and Pope with his imposing series
+of <i>Imitations</i>, gave such an impulse to the
+already widespread interest that it was carried
+<a id="Page_125" name="Page_125"></a><span class="pagenum">125</span>
+on through the whole of the century." "Horace
+may be said to pervade the literature of the
+eighteenth century in three ways: as a teacher
+of political and social morality; as a master of
+the art of poetry; and as a sort of <i>elegantiae
+arbiter</i>." Richardson, Sterne, Smollett, and
+Fielding, Gay, Samuel Johnson, Chesterfield,
+and Walpole, were all familiar with and fond
+of Horace, and took him unto themselves.</p>
+
+<p>In the nineteenth century, Wordsworth has
+an intimate familiarity with Virgil, Catullus,
+and Horace, but loves Horace best; Coleridge
+thinks highly of his literary criticism; Byron,
+who never was greatly fond of him, frequently
+quotes him; Shelley reads him with pleasure;
+Browning's <i>The Ring and the Book</i> contains
+many quotations from him; Thackeray makes
+use of phrases from the <i>Odes</i> "with an ease
+and facility which nothing but close intimacy
+could produce"; Andrew Lang addresses to
+him the most charming of his <i>Letters to Dead
+Authors</i>; and Austin Dobson is inspired by
+him in many of his exquisite poems in lighter
+vein. These names, and those in the paragraphs
+preceding, are not all that might be
+mentioned. The literature of England is honey-combed
+with the classic authors in general,
+<a id="Page_126" name="Page_126"></a><span class="pagenum">126</span>
+and Horace is among the foremost. Without
+him and without the classics, a great part of
+our literary patrimony is of little use.</p>
+
+
+<h4><i>vi</i>. IN THE SCHOOLS</h4>
+
+<p>Of the place of Horace in the schools and
+universities of all these countries, and of the
+world of western civilization in general, it is
+hardly necessary to speak. The enlightened sentiment
+of the five hundred years since the death
+of Petrarch has been enthusiastic in the conviction
+that the Greek and Latin classics are
+indispensable to instruction of the first quality,
+and that among them Horace is of exceeding
+value as a model of poetic taste and as an influence
+in the formation of a philosophy of
+life. If his place has been less secure in latter
+days, it is due less to alteration of that conviction
+than to extension of the educational
+system to the utilitarian arts and sciences,
+and to the passing of educational control from
+the few to the general average.
+<a id="Page_127" name="Page_127"></a><span class="pagenum">127</span></p>
+
+
+
+
+<h2>III. HORACE THE DYNAMIC</h2>
+
+<h3><span class="sc">The Cultivated Few</span></h3>
+
+
+<p>We have followed in such manner
+and at such length as is possible
+for our purpose the fortunes of
+Horace through the ages from his death and
+the death of the Empire in whose service his
+pen was employed to our own times. We have
+seen that he never was really forgotten, and
+that there never was a time of long duration
+when he ceased to be of real importance to
+some portion of mankind.</p>
+
+<p>The recital of historical fact is at best a
+narration of circumstance to which there clings
+little of the warmth of life. An historical event
+itself is but the cumulated and often frigid
+result of intimate original forces that may have
+meant long travail of body and soul before the
+act of realization became possible. The record
+of the event in chronicle or its commemoration
+in monument is only the sign that at some time
+there occurred a significant moment rendered
+<a id="Page_128" name="Page_128"></a><span class="pagenum">128</span>
+inevitable by previous stirrings of life whose
+intensity, if not whose very identity, are forgotten
+or no longer realized.</p>
+
+<p>Thus the enumeration of manuscript revisions,
+translations, imitations, and scholastic
+editions of Horace may also seem at first sight
+the narrative of cold detail. There may be
+readers who, remembering the scant stream of
+the cultivated few who tided the poet through
+the centuries of darkness, and the comparative
+rareness of cultivated men at all times, will
+be slow to be convinced of any real impress of
+Horace upon the life of men. They especially
+who reflect that during all the long sweep of
+time the majority of those who have known
+him, and even of those who have been stirred
+to enthusiasm by him, have known him through
+the compulsion of the school, and who reflect
+farther on the artificialities, the insincerities,
+the pettinesses, the abuses, and the hatreds of
+the class-room, the joy with which at the end
+the text-book is dropped or bidden an even
+more violent farewell, and the apparently total
+oblivion that follows, will be inclined to view as
+exaggeration the most moderate estimate of our
+debt to him.</p>
+
+<p>Yet skepticism would be without warrant. The
+<a id="Page_129" name="Page_129"></a><span class="pagenum">129</span>
+presence of any subject in an educational
+scheme represents the sincere, and often the
+fervent, conviction that it is worthy of the
+place. In the case of literary subjects, the
+nearer the approach to pure letters, the less
+demonstrable the connection between instruction
+and the winning of livelihood, the more
+intense the conviction. The immortality of
+literature and the arts, which surely has been
+demonstrated by time, the respect in which they
+are held by a world so intent on mere living
+that of its own motion it would never heed, is
+the work of the passionate few whose enthusiasms
+and protestations never allow the common
+crowd completely to forget, and keep forever
+alive in it the uneasy sense of imperfection.
+That Horace was preserved for hundreds of
+years by monastery and school, that the fact
+of acquaintance with him is due to his place
+in modern systems of education, are not mere
+statements empty of life. They represent the
+noble enthusiasms of enlightened men. The
+history of human progress has been the history
+of enthusiasms. Without enthusiasms, the
+fabric of civilization would collapse in a day
+into the chaos of barbarism.</p>
+
+<p>To give greater completeness and reality to
+<a id="Page_130" name="Page_130"></a><span class="pagenum">130</span>
+our account of Horace's place among men,
+ancient and modern, we must in some way
+add to the narrative of formal fact the demonstration
+of his influence in actual operation.
+In the case of periods obscure and remote, this
+is hardly possible. In the case of modern
+times it is not so difficult. For the recent
+centuries, as proof of the peculiar power of
+Horace, we have the abundant testimony of
+literature and biography.</p>
+
+<p>Let us call this influence the Dynamic Power
+of Horace. Dynamic power is the power that
+explodes men, so to speak, into physical or
+spiritual action, that operates by inspiration,
+expansion, fertilization, vitalization, and results
+in the living of a fuller life. If we can
+be shown concrete instances of Horace enriching
+the lives of men by increasing their
+love and mastery of art or multiplying their
+means of happiness, we shall not only appreciate
+better the poet's meaning for the present
+day, but be better able to imagine his effect
+upon men in the remoter ages whose life is less
+open to scrutiny.</p>
+
+<p>Our purpose will best be accomplished by
+demonstrating the very specific and pronounced
+effect of Horace, first, upon the formation of
+<a id="Page_131" name="Page_131"></a><span class="pagenum">131</span>
+the literary ideal; second, upon the actual
+creation of literature; and, third, upon living
+itself.</p>
+
+
+<h3>1. <span class="sc">Horace and the Literary Ideal</span></h3>
+
+<p>There is no better example of the direct
+effect of Horace than the part played in the
+discipline of letters by the <i>Ars Poetica</i>. This
+work is a literary <i>causerie</i> inspired in part by
+the reading of Alexandrian criticism, but in
+larger part by experience. In it the author's
+uppermost themes, as in characteristic manner
+he allows himself to be led on from one thought
+to another, are unity, consistency, propriety,
+truthfulness, sanity, and carefulness. Such has
+been its power by reason of inner substance
+and outward circumstance that it has been
+at times exalted into a court of appeal hardly
+less authoritative than Aristotle himself, from
+whom in large part it ultimately derives.</p>
+
+<p>We have seen how the Pleiad, with Du
+Bellay and Ronsard leading, seized upon the
+classics as a means of elevating the literature
+of France, and how the treatise of Du Bellay
+which was put forth as their manifesto was full
+of matter from the <i>Ars Poetica</i>, which two
+<a id="Page_132" name="Page_132"></a><span class="pagenum">132</span>
+years previously has served Sibilet also, whose
+work Du Bellay attacked. A century later,
+Boileau's <i>L'Art Poétique</i> testifies again to the
+inspiration of Horace, who is made the means
+of riveting still more firmly upon French
+drama, for good or ill, the strict rules that have
+always governed it; and by the time of Boileau's
+death the program of the Pleiad is revived a
+second time by Jean Baptiste Rousseau. Opitz
+and Gottsched in the seventeenth and eighteenth
+centuries are for Germany what Du
+Bellay and Boileau were for France in the
+sixteenth and seventeenth. Literary Spain of
+the latter fifteenth and early sixteenth centuries
+was under the same influence. The
+Spanish peninsula, according to Menéndez y
+Pelayo, has produced no fewer than forty-seven
+translations of the <i>Ars Poetica</i>. Even in England,
+always less tractable in the matter of
+rules than the Latin countries, Ben Jonson and
+his friends are in some sort another Pleiad,
+and the treatise possesses immense authority
+throughout the centuries. We turn the pages
+of Cowl's <i>The Theory of Poetry in England</i>,
+a book of critical extracts illustrating the development
+of poetry "in doctrines and ideas
+from the sixteenth century to the nineteenth
+<a id="Page_133" name="Page_133"></a><span class="pagenum">133</span>
+century," and note Ben Jonson and Wordsworth
+referring to or quoting Horace in the section
+on Poetic Creation; Dryden and Temple appealing
+to him and Aristotle on the Rules;
+Hurd quoting him on Nature and the Stage;
+Roger Ascham, Ben Jonson, and Dryden citing
+him as an example on Imitation; Dryden and
+Chapman calling him master and law-giver on
+Translation; Samuel Johnson referring to him
+on the same subject; and Ben Jonson and
+Dryden using him on Functions and Principles
+of Criticism. "Horace," writes Jonson, "an
+author of much civility, ... an excellent
+and true judge upon cause and reason, not
+because he thought so, but because he knew
+so out of use and experience." Pope, in the
+<i>Essay on Criticism</i>, describes with peculiar
+felicity both Horace's critical manner and the
+character of the authority, persuasive rather
+than tyrannical, which he exercises over Englishmen:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "H<i>orace still charms with graceful negligence</i>,</div>
+<div class="i0">  A<i>nd without method talks us into sense</i>;</div>
+<div class="i0">  W<i>ill, like a friend, familiarly convey</i></div>
+<div class="i0">  T<i>he truest notions in the easiest way</i>."</div>
+</div></div>
+<p><a id="Page_134" name="Page_134"></a><span class="pagenum">134</span></p>
+
+<p>But the dynamic power of the <i>Ars Poetica</i>
+will be still better appreciated if we assemble
+some of its familiar principles. Who has not
+heard of and wondered at the hold the "Rules"
+have had upon modern drama, especially in
+France,&#8212;the rule of five acts, no more and no
+less; the rule of three actors only, liberalized
+into the rule of economy; the rule of the unities
+in time, place, and action; the rule against the
+mingling of the tragic and comic "kinds";
+the rule against the artificial dénouement?
+Who has not heard of French playwrights
+composing "with one eye on the clock" for
+fear of violating the unity of time, or of their
+delight in the writing of drama as in "a difficult
+game well played?" If Alexandrian
+criticism, and, back of it, Aristotle, were ultimately
+responsible for the rules, Horace was
+their disseminator in later times, and was
+looked up to as final authority. Who has not
+heard and read repeatedly the now common-place
+injunctions to be appropriate and consistent
+in character-drawing; to avoid, on the
+one hand, clearness at the cost of diffuseness,
+and, on the other, brevity at the cost of obscurity;
+to choose subject-matter suited to one's
+powers; to respect the authority of the masterpiece
+<a id="Page_135" name="Page_135"></a><span class="pagenum">135</span>
+and to con by night and by day the great
+Greek exemplars; to feel the emotion one wishes
+to rouse; to stamp the universal with the mark
+of individual genius; to be straightforward and
+rapid and omit the unessential; to be truthful
+to life; to keep the improbable and the horrible
+behind the scenes; to be appropriate in meter
+and diction; to keep clear of the fallacy of
+poetic madness; to look for the real sources of
+successful writing in sanity, depth of knowledge,
+and experience with men; to remember
+the mutual indispensability of genius and cultivation;
+to combine the pleasant and the useful;
+to deny one's self the indulgence of mediocrity;
+never to compose unless under inspiration;
+to give heed to solid critical counsel;
+to lock up one's manuscript for nine years
+before giving it to the world; to destroy what
+does not measure up to the ideal; to take ever-lasting
+pains; to beware of the compliments of
+good-natured friends? Not less familiar are
+the apt figurative illustrations of the woman
+beautiful above and an ugly fish below, the
+purple patch, the painter who would forever
+put in his cypress tree, the amphora that came
+out a pitcher, the dolphin in the wood and the
+boar in the waters, the sesquipedalian word,
+<a id="Page_136" name="Page_136"></a><span class="pagenum">136</span>
+the mountains in travail and the birth of the
+ridiculous mouse, the plunge <i>in medias res</i>, the
+praiser of the good old times, the exclusion of
+sane poets from Helicon, the counsellor who
+himself can write nothing, but will serve as
+whetstone for genius, the nodding of Homer.</p>
+
+<p>Nor did the effects of this diffusion of Horatian
+precept consist merely in restraint upon
+the youthful and the impulsive, or confine themselves
+to the drama, with which the <i>Ars Poetica</i>
+was mainly concerned. The persuasive and
+authoritative counsels of the Roman poet have
+entered, so to speak, into the circulatory system
+of literary effort and become part of the life-blood
+of modern enlightenment. Their great
+effect has been formative: the cultivation of
+character in literature.</p>
+
+
+
+<h3>2. <span class="sc">Horace and Literary Creation</span></h3>
+
+
+<h4><i>i</i>. THE TRANSLATOR'S IDEAL</h4>
+
+<p>Besides the invisible, and the greatest, effect
+of Horace in the moulding of character in
+literature, is the visible effect in literary creation.
+His inspiration wrought by performance
+as well as by precept. The numerous
+<a id="Page_137" name="Page_137"></a><span class="pagenum">137</span>
+essays in verse and prose on the art of letters
+which have been prompted by the <i>Ars Poetica</i>
+are themselves examples of this effect. They
+are not alone, however, though perhaps the
+most apparent. The purer literature of the
+lyric also inspired to creation, with results that
+are far more charming, if less substantial.</p>
+
+<p>In the case of the lyric inspired by the <i>Odes</i>,
+as well as in the case of the critical essay inspired
+by the <i>Ars Poetica</i>, it is not always easy
+to distinguish adaptation or imitation from actual
+creation. Bernardo Tasso's <i>Ode</i>, for example,
+and Giovanni Prati's <i>Song of Hygieia</i>,
+while really independent poems, are so charged
+with Horatian matter and spirit that one hesitates
+to call them original. The same is true
+of the many inspirations traceable to the famous
+<i>Beatus Ille Epode</i>, which, with such <i>Odes</i>
+as <i>The Bandusian Spring</i>, <i>Pyrrha</i>, <i>Phidyle</i>, and
+<i>Chloe</i>, have captured the fancy of modern
+poets. Pope's <i>Solitude</i>, on the other hand,
+while surely an inspiration of the second <i>Epode</i>,
+shows hardly a mark affording proof of the fact.</p>
+
+<p>To some of the most manifest imitations and
+adaptations, it is impossible to deny originality.
+The <i>Fifth Book of Horace</i>, by Kipling and
+Graves, is an example. Thackeray's delightful
+<a id="Page_138" name="Page_138"></a><span class="pagenum">138</span>
+<i>Ad Ministram</i> is another example which must
+be classed as adaptation, yet such is its spontaneity
+that not to see in it an inspiration would
+be stupid and unjust:</p>
+
+<div class="poem">
+<p>AD MINISTRAM</p>
+
+
+<div class="stanza">
+<div class="i0">  D<i>ear Lucy, you know what my wish is</i>&#8212;</div>
+<div class="i1">    I<i> hate all your Frenchified fuss</i>:</div>
+<div class="i0">  Y<i>our silly entrées and made dishes</i></div>
+<div class="i1">    W<i>ere never intended for us</i>.</div>
+<div class="i0">  N<i>o footman in lace and in ruffles</i></div>
+<div class="i1">    N<i>eed dangle behind my arm-chair</i>;</div>
+<div class="i0">  A<i>nd never mind seeking for truffles</i></div>
+<div class="i1">    A<i>lthough they be ever so rare</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  B<i>ut a plain leg of mutton, my Lucy</i>,</div>
+<div class="i1">    I<i> prithee get ready at three</i>:</div>
+<div class="i0">  H<i>ave it smoking, and tender, and juicy</i>,</div>
+<div class="i1">    A<i>nd what better meat can there be?</i></div>
+<div class="i0">  A<i>nd when it has feasted the master</i>,</div>
+<div class="i1">    'T<i>will amply suffice for the maid</i>;</div>
+<div class="i0">  M<i>eanwhile I will smoke my canaster</i>,</div>
+<div class="i1">    A<i>nd tipple my ale in the shade</i>.</div>
+</div></div>
+
+<p>In similar strain of exquisite humor are the
+adaptations of the Whichers, American examples
+of spirit and skill not second to that
+of Thackeray:<a id="Page_139" name="Page_139"></a><span class="pagenum">139</span></p>
+
+
+<div class="poem">
+<h4>MY SABINE FARM</h4>
+
+<h4>LAUDABUNT ALII</h4>
+
+
+<div class="stanza">
+<div class="i0">  S<i>ome people talk about "Noo Yo'k"</i>;</div>
+<div class="i1">    O<i>f Cleveland many ne'er have done</i>;</div>
+<div class="i0">  T<i>hey sing galore of Baltimore</i>,</div>
+<div class="i1">    C<i>hicago, Pittsburgh, Washington</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  O<i>thers unasked their wit have tasked</i></div>
+<div class="i1">    T<i>o sound unending praise of Boston</i>&#8212;</div>
+<div class="i0">  O<i>f bean-vines found for miles around</i></div>
+<div class="i1">    A<i>nd crooked streets that I get lost on</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  G<i>ive me no jar of truck or car</i>,</div>
+<div class="i1">    N<i>o city smoke and noise of mills</i>;</div>
+<div class="i0">  R<i>ather the slow Connecticut's flow</i></div>
+<div class="i1">    A<i>nd sunny orchards on the hills</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>here like the haze of summer days</i></div>
+<div class="i1">    B<i>efore the wind flee care and sorrow</i>.</div>
+<div class="i0">  I<i>n sure content each day is spent</i>,</div>
+<div class="i1">    U<i>nheeding what may come to-morrow</i>.</div>
+</div></div>
+<p><a id="Page_140" name="Page_140"></a><span class="pagenum">140</span></p>
+
+
+<div class="poem">
+<h4>VITAS HINNULEO</h4>
+
+<h4>DONE BY MR. WILLIAM WORDSWORTH</h4>
+
+
+<div class="stanza">
+<div class="i0">  I <i>met a little Roman maid</i>;</div>
+<div class="i1">    S<i>he was just sixteen (she said)</i>,</div>
+<div class="i0">  A<i>nd O! but she was sore afraid</i>,</div>
+<div class="i1">    A<i>nd hung her modest head</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  A <i>little fawn, you would have vowed</i>,</div>
+<div class="i1">    T<i>hat sought her mother's side</i>,</div>
+<div class="i0">  A<i>nd wandered lonely as a cloud</i></div>
+<div class="i1">    U<i>pon the mountain wide</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  W<i>hene'er the little lizards stirred</i></div>
+<div class="i1">    S<i>he started in her fear</i>;</div>
+<div class="i0">  I<i>n every rustling bush she heard</i></div>
+<div class="i1">    S<i>ome awful monster near</i>.</div>
+</div>
+<div class="stanza">
+<div class="quote">  "I<i>'m not a lion; fear not so</i>;</div>
+<div class="i1">    S<i>eek not your timid dam</i>."&#8212;</div>
+<div class="i0">  B<i>ut Chloe was afraid, and O!</i></div>
+<div class="i1">    S<i>he knows not what I am</i>:</div>
+</div>
+<div class="stanza">
+<div class="i0">    A creature quite too bright and good</div>
+<div class="i0">    To be so much misunderstood.</div>
+</div></div>
+<p><a id="Page_141" name="Page_141"></a><span class="pagenum">141</span></p>
+
+<p>Again, in Austin Dobson's exquisite <i>Triolet</i>,
+whether the inspiration of the poem itself is
+in Horace, or the inspiration, so far as Horace
+is concerned, lies in the choice of title after
+the verses were written, we must in either case
+confess a debt of great delight to the author
+of the <i>Ars Poetica</i>:</p>
+
+
+<div class="poem">
+<h4>URCEUS EXIT</h4>
+
+<div class="stanza">
+<div class="i0">  I<i> intended an Ode</i>,</div>
+<div class="i1">    A<i>nd it turned to a Sonnet</i>.</div>
+<div class="i0">  I<i>t began</i> à la mode,</div>
+<div class="i0">  I<i> intended an Ode</i>;</div>
+<div class="i0">  B<i>ut Rose crossed the road</i></div>
+<div class="i0">  I<i>n her latest new bonnet</i>;</div>
+<div class="i1">    I<i> intended an Ode</i>,</div>
+<div class="i0">  A<i>nd it turned to a Sonnet</i>.</div>
+</div></div>
+
+<p>The same observation applies equally to the
+same author's <i>Iocosa Lyra</i>:</p>
+
+
+<div class="poem">
+<h4>IOCOSA LYRA</h4>
+
+<div class="stanza">
+<div class="i0">  I<i>n our hearts is the great one of Avon</i></div>
+<div class="i3">                                E<i>ngraven</i>,</div>
+<div class="i0">  A<i>nd we climb the cold summits once built on</i></div>
+<div class="i3">                                B<i>y Milton</i>;</div>
+</div>
+<p><a id="Page_142" name="Page_142"></a><span class="pagenum">142</span></p>
+
+
+<div class="stanza">
+<div class="i0">  B<i>ut at times not the air that is rarest</i></div>
+<div class="i3">                                I<i>s fairest</i>,</div>
+<div class="i0">  A<i>nd we long in the valley to follow</i></div>
+<div class="i3">                                A<i>pollo</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>hen we drop from the heights atmospheric</i></div>
+<div class="i3">                                T<i>o Herrick</i>,</div>
+<div class="i0">  O<i>r we pour the Greek honey, grown blander</i>,</div>
+<div class="i3">                                O<i>f Landor</i>,</div>
+</div>
+<div class="stanza">
+<div class="i0">  O<i>r our cosiest nook in the shade is</i></div>
+<div class="i3">                                W<i>here Praed is</i>,</div>
+<div class="i0">  O<i>r we toss the light bells of the mocker</i></div>
+<div class="i3">                                W<i>ith Locker</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  O<i> the song where not one of the Graces</i></div>
+<div class="i3">                                T<i>ightlaces</i>,&#8212;</div>
+<div class="i0">  W<i>here we woo the sweet Muses not starchly</i>,</div>
+<div class="i3">                                B<i>ut archly</i>,&#8212;</div>
+</div>
+<div class="stanza">
+<div class="i0">  W<i>here the verse, like a piper a-Maying</i></div>
+<div class="i3">                                C<i>omes playing</i>,&#8212;</div>
+<div class="i0">  A<i>nd the rhyme is as gay as a dancer</i></div>
+<div class="i3">                                I<i>n answer</i>,&#8212;</div>
+</div>
+<div class="stanza">
+<div class="i0">  I<i>t will last till men weary of pleasure</i></div>
+<div class="i3">                                I<i>n measure!</i></div>
+<div class="i0">  I<i>t will last till men weary of laughter</i> ...</div>
+<div class="i3">                                A<i>nd after!</i></div>
+</div></div>
+<p><a id="Page_143" name="Page_143"></a><span class="pagenum">143</span></p>
+
+<p>Whatever we may say of the indebtedness
+of things like these to the letter of the ancient
+poet, we must acknowledge them all alike as
+examples of the dynamic power of Horace.</p>
+
+
+<h4><i>ii</i>. CREATION</h4>
+
+<p>But there are other examples whose character
+as literary creation is still farther beyond
+question. Such a one, to mention one brilliant
+specimen in prose, is the letter of Andrew Lang
+to Horace. In verse, Austin Dobson again
+affords one of the happiest examples:</p>
+
+
+<div class="poem">
+<h4>TO Q.H.F.</h4>
+
+<div class="stanza">
+<div class="quote">  "H<i>oratius Flaccus</i>, <span class="sc">b.c.</span> 8,"</div>
+<div class="i0">  T<i>here's not a doubt about the date</i>,&#8212;</div>
+<div class="i2">      Y<i>ou're dead and buried</i>:</div>
+<div class="i0">  A<i>s you observed, the seasons roll</i>;</div>
+<div class="i0">  A<i>nd 'cross the Styx full many a soul</i></div>
+<div class="i2">      H<i>as Charon ferried</i>,</div>
+<div class="i0">  S<i>ince, mourned of men and Muses nine</i>,</div>
+<div class="i0">  T<i>hey laid you on the Esquiline</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  A<i>nd that was centuries ago!</i></div>
+<div class="i0">  Y<i>ou'd think we'd learned enough, I know</i>,</div>
+<div class="i2">      T<i>o help refine us</i>,</div>
+
+<a id="Page_144" name="Page_144"></a><span class="pagenum">144</span>
+
+<div class="i0">  S<i>ince last you trod the Sacred Street</i>,</div>
+<div class="i0">  A<i>nd tacked from mortal fear to meet</i></div>
+<div class="i2">      T<i>he bore Crispinus</i>;</div>
+<div class="i0">  O<i>r, by your cold Digentia, set</i></div>
+<div class="i0">  T<i>he web of winter birding-net</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  O<i>urs is so far-advanced an age!</i></div>
+<div class="i0">  S<i>ensation tales, a classic stage</i>,</div>
+<div class="i2">      C<i>ommodious villas!</i></div>
+<div class="i0">  W<i>e boast high art, an Albert Hall</i>,</div>
+<div class="i0">  A<i>ustralian meats, and men who call</i></div>
+<div class="i2">      T<i>heir sires gorillas!</i></div>
+<div class="i0">  W<i>e have a thousand things, you see</i>,</div>
+<div class="i0">  N<i>ot dreamt in your philosophy</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  A<i>nd yet, how strange! Our "world," today</i>,</div>
+<div class="i0">  T<i>ried in the scale, would scarce outweigh</i></div>
+<div class="i2">      Y<i>our Roman cronies</i>;</div>
+<div class="i0">  W<i>alk in the Park,&#8212;you'll seldom fail</i></div>
+<div class="i0">  T<i>o find a Sybaris on the rail</i></div>
+<div class="i2">      B<i>y Lydia's ponies</i>,</div>
+<div class="i0">  O<i>r hap on Barrus, wigged and stayed</i>,</div>
+<div class="i0">  O<i>gling some unsuspecting maid</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  T<i>he great Gargilius, then, behold!</i></div>
+<div class="i0">  H<i>is "long-bow" hunting tales of old</i></div>
+<div class="i2">      A<i>re now but duller</i>;</div>
+
+<a id="Page_145" name="Page_145"></a><span class="pagenum">145</span>
+
+<div class="i0">  F<i>air Neobule too! Is not</i></div>
+<div class="i0">  O<i>ne Hebrus here,&#8212;from Aldershot?</i></div>
+<div class="i2">      A<i>ha, you colour!</i></div>
+<div class="i0">  B<i>e wise. There old Canidia sits</i>;</div>
+<div class="i0">  N<i>o doubt she's tearing you to bits</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  A<i>nd look, dyspeptic, brave, and kind</i>,</div>
+<div class="i0">  C<i>omes dear Maecenas, half behind</i></div>
+<div class="i2">      T<i>erentia's skirting</i>;</div>
+<div class="i0">  H<i>ere's Pyrrha, "golden-haired" at will</i>;</div>
+<div class="i0">  P<i>rig Damasippus, preaching still</i>;</div>
+<div class="i2">      A<i>sterie flirting</i>,&#8212;</div>
+<div class="i0">  R<i>adiant, of course. We'll make her black</i>,&#8212;</div>
+<div class="i0">  A<i>sk her when Gyges' ship comes back</i>.</div>
+</div>
+<div class="stanza">
+<div class="i0">  S<i>o with the rest. Who will may trace</i></div>
+<div class="i0">  B<i>ehind the new each elder face</i></div>
+<div class="i2">      D<i>efined as clearly</i>;</div>
+<div class="i0">  S<i>cience proceeds, and man stands still</i>;</div>
+<div class="i0">  O<i>ur "world" today's as good or ill</i>,&#8212;</div>
+<div class="i2">      A<i>s cultured</i> (<i>nearly</i>),</div>
+<div class="i0">  A<i>s yours was, Horace! You alone</i>,</div>
+<div class="i0">  U<i>nmatched, unmet, we have not known</i>.</div>
+</div></div>
+
+<p>But it is not only to comparatively independent
+creation that we must look. The dynamic
+power of Horace is to be found at work even in
+the translation of the poet. The fact that he has
+<a id="Page_146" name="Page_146"></a><span class="pagenum">146</span>
+had more translators than any other poet, ancient
+or modern, is itself an evidence of inspirational
+quality, but a greater proof lies in
+the variety and character of his translators
+and the quality of their achievement. A list
+of those who have felt in this way the stirrings
+of the Horatian spirit would include the names
+not only of many great men of letters, but
+of many great men of affairs, whose successes
+are to be counted among examples of genuine
+inspiration. Translation at its best is not
+mere craftsmanship, but creation,&#8212;in Roscommon's
+lines,</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  'T<i>is true, composing is the Nobler Part</i>,</div>
+<div class="i0">  B<i>ut good Translation is no easy Art</i>.</div>
+</div></div>
+
+<p>Theodore Martin's rendering of I. 21, <i>To a
+Jar of Wine</i>, already quoted in part, is an
+example. Another brilliant success is Sir
+Stephen E. De Vere's I. 31, <i>Prayer to Apollo</i>,
+quoted in connection with the poet's religious
+attitude. No less felicitous are Conington's
+spirited twelve lines, reproducing III. 26, <i>Vixi
+puellis</i>:
+<a id="Page_147" name="Page_147"></a><span class="pagenum">147</span></p>
+
+
+<div class="poem">
+<h4>VIXI PUELLIS NUPER IDONEUS</h4>
+
+
+<div class="stanza">
+<div class="i0">  F<i>or ladies' love I late was fit</i>,</div>
+<div class="i1">    A<i>nd good success my warfare blest</i>;</div>
+<div class="i0">  B<i>ut now my arms, my lyre I quit</i>,</div>
+<div class="i1">    A<i>nd hang them up to rust or rest</i>.</div>
+<div class="i0">  H<i>ere, where arising from the sea</i></div>
+<div class="i1">    S<i>tands Venus, lay the load at last</i>,</div>
+<div class="i0">  L<i>inks, crowbars, and artillery</i>,</div>
+<div class="i1">    T<i>hreatening all doors that dared be fast</i>.</div>
+<div class="i0">  O<i> Goddess! Cyprus owns thy sway</i>,</div>
+<div class="i1">    A<i>nd Memphis, far from Thracian snow</i>:</div>
+<div class="i0">  R<i>aise high thy lash, and deal me, pray</i>,</div>
+<div class="i1">    T<i>hat haughty Chloe just one blow!</i></div>
+</div></div>
+
+<p class="zero">To translate in this manner is beyond all doubt
+to deserve the name of poet.</p>
+
+<p>We may go still farther and claim for Horace
+that he has been a dynamic power in the art of
+translation, not only as it concerned his own
+poems, but in its concern of translation as a
+universal art. No other poet presents such
+difficulties; no other poet has left behind him
+so long a train of disappointed aspirants.
+"Horace remains forever the type of the untranslatable,"
+says Frederic Harrison. Milton
+attempts the <i>Pyrrha</i> ode in unrhymed meter,
+and the light and bantering spirit of Horace
+<a id="Page_148" name="Page_148"></a><span class="pagenum">148</span>
+disappears. Milton is correct, polished, restrained,
+and pure, but heavy and cold. An
+exquisite <i>jeu d'esprit</i> has been crushed to death:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  W<i>hat slender youth, bedew'd with liquid odours</i>,</div>
+<div class="i0">  C<i>ourts thee on roses in some pleasant cave</i>,</div>
+<div class="i2">      P<i>yrrha? For whom bind'st thou</i></div>
+<div class="i2">      I<i>n wreaths thy golden hair</i>,</div>
+<div class="i0">  P<i>lain in thy neatness? O how oft shall he</i></div>
+<div class="i0">  O<i>n faith and changèd gods complain, and seas</i></div>
+<div class="i2">      R<i>ough with black winds and storms</i></div>
+<div class="i2">      U<i>nwonted shall admire</i>!</div>
+<div class="i0">  W<i>ho now enjoys thee credulous, all gold</i>,</div>
+<div class="i0">  W<i>ho, always vacant, always amiable</i></div>
+<div class="i2">      H<i>opes thee, of flattering gales</i></div>
+<div class="i2">      U<i>nmindful! Hapless they</i></div>
+<div class="i0">  T<i>o whom thou untried seem'st fair! Me in my vowed</i></div>
+<div class="i0">  P<i>icture, the sacred wall declares to have hung</i></div>
+<div class="i2">      M<i>y dank and dropping weeds</i></div>
+<div class="i2">      T<i>o the stern God of Sea</i>.</div>
+</div></div>
+
+<p>But let the attempt be made to avoid the
+ponderous movement and excessive sobriety of
+Milton, and to communicate the Horatian airiness,
+and there is a loss in conciseness and
+reserve:
+<a id="Page_149" name="Page_149"></a><span class="pagenum">149</span></p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  W<i>hat scented youth now pays you court</i>,</div>
+<div class="i1">    P<i>yrrha, in shady rose-strewn spot</i></div>
+<div class="i0">  D<i>allying in love's sweet sport</i>?</div>
+<div class="i1">    F<i>or whom that innocent-seeming knot</i></div>
+<div class="i0">  I<i>n which your golden strands you dress</i></div>
+<div class="i0">  W<i>ith all the art of artlessness?</i></div>
+</div>
+
+<div class="stanza">
+<div class="i0">  D<i>eluded lad! How oft he'll weep</i></div>
+<div class="i1">    O<i>'er changèd gods! How oft, when dark</i></div>
+<div class="i0">  T<i>he billows roughen on the deep</i>,</div>
+<div class="i1">    S<i>torm-tossed he'll see his wretched bark</i>!</div>
+<div class="i0">  U<i>nused to Cupid's quick mutations</i>,</div>
+<div class="i0">  I<i>n store for him what tribulations!</i></div>
+</div>
+
+<div class="stanza">
+<div class="i0">  B<i>ut now his joy is all in you</i>;</div>
+<div class="i1">    H<i>e thinks your heart is purest gold</i>;</div>
+<div class="i0">  E<i>xpects you'll always be love-true</i>,</div>
+<div class="i1">    A<i>nd never, never, will grow cold</i>.</div>
+<div class="i0">  P<i>oor mariner on summer seas</i>,</div>
+<div class="i0">  U<i>ntaught to fear the treacherous breeze!</i></div>
+</div>
+
+<div class="stanza">
+<div class="i0">  A<i>h, wretched whom your Siren call</i></div>
+<div class="i1">    D<i>eludes and brings to watery woes</i>!</div>
+<div class="i0">  F<i>or me&#8212;yon plaque on Neptune's wall</i></div>
+<div class="i1">    S<i>hows I've endured the seaman's throes</i>.</div>
+<div class="i0">  M<i>y drenchèd garments hang there, too</i>:</div>
+<div class="i0">  H<i>enceforth I shun the enticing blue.</i></div>
+</div></div>
+
+<p><a id="Page_150" name="Page_150"></a><span class="pagenum">150</span>
+
+It is not improbable that the struggle of the
+centuries with the difficulties of rendering
+Horace has been a chief influence in the development
+of our present exacting ideal of translation;
+so exacting indeed that it has defeated
+its purpose. By emphasis upon the impossibility
+of rendering accurately the content of
+poetry in the form of poetry, scholastic discussion
+of the theory of translation has led
+first to despair, and next from despair to the
+scientific and unaesthetic principle of rendering
+into exact prose all forms of literature alike.
+The twentieth century has thus opened again
+and settled in opposite manner the old dispute
+of the French D'Alembert and the Italian
+Salvini in the seventeen-hundreds, which was
+resolved by actual results in favor of D'Alembert
+and fidelity to spirit as opposed to Salvini
+and fidelity to letter.</p>
+
+<p>In what we have said thus far of the dynamic
+power of Horace in literary creation, we have
+dealt with visible results. We should not be
+misled, however, by the satisfaction of seeing
+plainly in imitation, adaptation, translation,
+quotation, or real creation, the mark of
+Horatian influence. The discipline of the literary
+ideal in the individual, and the moulding
+<a id="Page_151" name="Page_151"></a><span class="pagenum">151</span>
+of character in literature as an organism, are
+effects less clearly visible, but, after all, of
+greater value. If the bread and meat of human
+sustenance should appear in the body as recognizable
+bread and meat, it would hardly be a
+sign of health. Its value is in the strength
+conferred by assimilation. With all respect and
+gratitude for creation manifestly due to Horace,
+we must also realize that this is but a
+superficial result as compared with the chastening
+restraint of expression and the health and
+vigor of content that have been encouraged by
+allegiance to him, but are known by no special
+marks. It is no bad sign when we turn the
+pages of the <i>Oxford Selections of Verse</i> in the
+various modern languages and find but few
+examples of the visible sort of Horatian
+influence. To detect the more invisible sort
+requires the keen eye and the sensitive spirit
+of the poet-scholar, but the reader not so
+specially qualified may have faith that it exists.
+With Goethe writing of Horace as a "great,
+glowing, noble poet, full of heart, who with the
+power of his song sweeps us along, lifts us,
+and inspires us," with Menéndez y Pelayo in
+Spain defining the Horatian lyric, whether
+Christian or pagan, by "sobriety of thought,
+<a id="Page_152" name="Page_152"></a><span class="pagenum">152</span>
+rhythmic lightness, the absence of artificial
+adornment, unlimited care in execution, and
+brevity," and holding this ideal aloft as the
+influence needed by the modern lyric, and with
+no countries or periods without leaders in
+poetry and criticism uttering similar sentiments
+and exhortations, it would be difficult not to
+believe in a substantial Horatian effect on literary
+culture, however slight the external marks.</p>
+
+
+<h3>3. <span class="sc">Horace in the Living of Men</span></h3>
+
+<p>Let us take leave of these illustrations of
+the dynamic power of Horace in letters, and
+consider in conclusion his power as shown
+directly in the living of men.</p>
+
+<p>First of all, we may include in the dynamic
+working of the poet his stirring of the heart by
+pure delight. If this is not the highest and the
+ultimate effect of poetry, it is after all the first
+and the essential effect. Without the giving of
+pleasure, no art becomes really the possession
+of men and the instrument of good. As a
+matter of fact, many of the most frequently
+and best translated <i>Odes</i> are devoid both of
+moral intent, and, in the ordinary sense, of
+<a id="Page_153" name="Page_153"></a><span class="pagenum">153</span>
+moral effect. <i>To Pyrrha</i>, <i>Soracte Covered with
+Snow</i>, <i>Carpe Diem</i>, <i>To Glycera</i>, <i>Integer Vitae</i>,
+<i>To Chloe</i>, <i>Horace and Lydia</i>, <i>The Bandusian
+Spring</i>, <i>Faunus</i>, <i>To an Old Wine-Jar</i>, <i>The End
+of Love</i>, and <i>Beatus Ille</i> are merely <i>jeux-d'esprit</i>
+of the sort that for the moment lighten
+and clear the spirit. The same may be said
+of <i>The Bore</i> and the <i>Journey to Brundisium</i>
+among the <i>Satires</i>, and of many of the
+<i>Epistles</i>.</p>
+
+<p>But these trifles light as air are nevertheless
+of the sort for which mankind is eternally
+grateful, because men are convinced, without
+process of reason, that by them the fibre of life
+is rested and refined and strengthened. We
+may call this familiar effect by the less familiar
+name of re-creative. What lover of Horace has
+not felt his inmost being cleansed and refreshed
+by the simple and exquisite art of <i>The Bandusian
+Spring</i>, whose cameo of sixty-eight Latin
+words in four stanzas is an unapproachable
+model of vividness, elegance, purity, and restraint:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  O <i>crystal-bright Bandusian Spring</i>,</div>
+<div class="i1">    W<i>orthy thou of the mellow wine</i></div>
+<div class="i0">  A<i>nd flowers I give to thy pure depths</i>:</div>
+<div class="i1">    A<i> kid the morrow shall be thine</i>.</div>
+</div>
+
+<div class="i0"><a id="Page_154" name="Page_154"></a><span class="pagenum">154</span></div>
+
+
+
+<div class="stanza">
+<div class="i0">  T<i>he day of lustful strife draws on</i>,</div>
+<div class="i1">    T<i>he starting horn begins to gleam</i>;</div>
+<div class="i0">  I<i>n vain! His red blood soon shall tinge</i></div>
+<div class="i1">    T<i>he waters of thy clear, cold stream</i>.</div>
+</div>
+
+<div class="stanza">
+<div class="i0">  T<i>he dog-star's fiercely blazing hour</i></div>
+<div class="i1">    N<i>e'er with its heat doth change thy pool</i>;</div>
+<div class="i0">  T<i>o wandering flock and ploughworn steer</i></div>
+<div class="i1">    T<i>hou givest waters fresh and cool</i>.</div>
+</div>
+
+<div class="stanza">
+<div class="i0">  T<i>hee, too, 'mong storied founts I'll place</i>,</div>
+<div class="i1">    S<i>inging the oak that slants the steep</i>,</div>
+<div class="i0">  A<i>bove the hollowed home of rock</i></div>
+<div class="i1">    F<i>rom which thy prattling streamlets leap</i>.</div>
+</div></div>
+
+
+<p>Or who does not live more abundant life at
+reading the <i>Chloe Ode</i>, with its breath of the
+mountain air and its sense of the brooding
+forest solitude, and its exquisite suggestion of
+timid and charming girlhood?</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "Y<i>ou shun me, Chloe, wild and shy</i></div>
+<div class="i1">    A<i>s some stray fawn that seeks its mother</i></div>
+<div class="i0">  T<i>hrough trackless woods. If spring-winds sigh</i>,</div>
+<div class="i1">    I<i>t vainly strives its fears to smother</i>;&#8212;</div>
+</div>
+
+<div class="stanza">
+<div class="quote">  "I<i>ts trembling knees assail each other</i></div>
+<div class="i1">    W<i>hen lizards stir the bramble dry</i>;&#8212;</div>
+<div class="i1">    Y<i>ou shun me, Chloe, wild and shy</i></div>
+<div class="i0">  A<i>s some stray fawn that seeks its mother</i>.</div>
+</div>
+
+<div class="i0"><a id="Page_155" name="Page_155"></a><span class="pagenum">155</span></div>
+
+
+<div class="stanza">
+<div class="quote">  "A<i>nd yet no Libyan lion I</i>,&#8212;</div>
+<div class="i1">    N<i>o ravening thing to rend another</i>;</div>
+<div class="i0">  L<i>ay by your tears, your tremors by</i>,&#8212;</div>
+<div class="i1">    A<i> husband's better than a brother</i>;</div>
+<div class="i0">  N<i>or shun me, Chloe, wild and shy</i></div>
+<div class="i1">    A<i>s some stray fawn that seeks its mother</i>."</div>
+</div></div>
+
+
+<p>But there are those who demand of poetry
+a usefulness more easily measurable than that
+of recreation. In their opinion, it is improvement
+rather than pleasure which is the end of
+art, or at least improvement as well as pleasure.
+In this, indeed, the poet himself is inclined to
+agree: "He who mingles the useful with the
+pleasant by delighting and likewise improving
+the reader, will get every vote."</p>
+
+<p>Let us look for these more concrete results,
+and see how Horace the person still lives in
+the character of men, as well as Horace the
+poet in the character of literature.</p>
+
+<p>To appreciate this better, we must return to
+the theme of Horace's personal quality. We
+have already seen that in no other poet so fully
+as in Horace is the reality of personal contact
+to be felt. The lyrics, as well as the <i>Epistles</i>
+and <i>Satires</i>, are almost without exception addressed
+to actual persons. So successful is this
+<a id="Page_156" name="Page_156"></a><span class="pagenum">156</span>
+attempt of the poet to speak from the page
+that it needs but the slightest touch of imagination
+to create the illusion that we ourselves
+are addressed. We feel, as if at first hand, all
+the qualities that went to make up Horace's
+character,&#8212;his good will, good faith, and
+good-nature, the depth and constancy of his
+friendship, his glow of admiration for the brave
+deed, the pure heart, and the steadfast purpose,
+his patient endurance of ill, his delight in men
+and things, his affection for what is simple and
+sincere, his charity for human weakness, his
+mildly ironical mood, as of one who is aware
+that he himself is not undeserving of the good-humored
+censure he passes on others, his clear
+vision of the sources of happiness, his reposeful
+acquiescence, and his elusive humor, which
+never bursts into laughter and yet is never
+far away from it. We are taken into his confidence,
+like old friends. He describes himself
+and his ways; he lets us share in his
+own vision of himself and in his amusement
+at the bustling and self-deluded world,
+and subtly conciliates us by making us
+feel ourselves partakers with him in the criticism
+of life. There is no better example in
+literature of personal magnetism.
+<a id="Page_157" name="Page_157"></a><span class="pagenum">157</span></p>
+
+<p>And he is more than merely personal. He
+is sincere and unreserved. Were he otherwise,
+the delight of intimate acquaintance with him
+would be impossible. It is the real Horace
+whom we meet,&#8212;not a person on the literary
+stage, with buskins, pallium, and mask. Horace
+holds the mirror up to himself; rather, not
+to himself, but to nature in himself. Every
+side of his personality appears: the artist, and
+the man; the formalist, and the skeptic; the
+spectator, and the critic; the gentleman in
+society, and the son of the collector; the landlord
+of five hearths, and the poet at court; the
+stern moralist, and the occasional voluptuary;
+the vagabond, and the conventionalist. He is
+independent and unhampered in his expression.
+He has no exalted social position to maintain,
+and blushes neither for parentage nor companions.
+His philosophy is not School-made, and
+the fear of inconsistency never haunts him.
+His religion requires no subscription to dogma;
+he does not even take the trouble to define it.
+Politically, his duties have come to be also
+his desires. He will accept the favors of the
+Emperor and his ministers if they do not compromise
+his liberty or happiness. If they withdraw
+their gifts, he knows how to do without
+<a id="Page_158" name="Page_158"></a><span class="pagenum">158</span>
+them, because he has already done without
+them. He conceals nothing, pretends to nothing,
+makes no excuses, suffers from no self-consciousness,
+exercises no reserve. There are
+few expressions of self in all literature so
+spontaneous and so complete. Horace has
+left us a portrait of his soul much more perfect
+than that of his person. It is a truthful
+portrait, with both shadow and light.</p>
+
+<p>And there is a corollary to Horace's frankness
+that constitutes another element in the
+charm of his personality. His very unreserve
+is the proof of an open and kindly heart. To
+call him a satirist at all is to necessitate his own
+definition of satire, "smilingly to tell the truth."
+At least in his riper work, there is no trace of
+bitterness. He laughs with some purpose and
+to some purpose, but his laughter is not sardonic.
+Sane judgment and generous experience
+tell him that the foibles of mankind are his
+own as well as theirs, and are not to be changed
+by so slight a means as a railing tongue. He
+reflects that what in himself has produced no
+very disastrous results may without great danger
+be forgiven also in them.</p>
+
+<p>It is this intimate and warming quality in
+Horace that prompts Hagedorn to call him
+<a id="Page_159" name="Page_159"></a><span class="pagenum">159</span>
+"my friend, my teacher, my companion," and
+to take the poet with him on country walks
+as if he were a living person:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  Horaz, mein Freund, mein Lehrer, mein Begleiter,</div>
+<div class="i0">  Wir gehen aufs Land. Die Tage sind so heiter;</div>
+</div></div>
+
+<p class="zero">and Nietzsche to compare the atmosphere of the
+<i>Satires</i> and <i>Epistles</i> to the "geniality of a warm
+winter day"; and Wordsworth to be attracted
+by his appreciation of "the value of companionable
+friendship"; and Andrew Lang to address
+to him the most personal of literary
+letters; and Austin Dobson to give his Horatian
+poems the form of personal address; and
+countless students and scholars and men out of
+school and immersed in the cares of life to
+carry Horace with them in leisure hours.
+<i>Circum praecordia ludit</i>, "he plays about the
+heartstrings," said Persius, long before any of
+these, when the actual Horace was still fresh
+in the memory of men.</p>
+
+<p>If we were to take detailed account of certain
+qualities missed in Horace by the modern
+reader, we should be even more deeply convinced
+of his power of personal attraction. He
+is not a Christian poet, but a pagan. Faith in
+<a id="Page_160" name="Page_160"></a><span class="pagenum">160</span>
+immortality and Providence, penitence and penance,
+and humanitarian sentiment, are hardly
+to be found in his pages. He is sometimes
+too unrestrained in expression. The unsympathetic
+or unintelligent critic might charge him
+with being commonplace.</p>
+
+<p>Yet these defects are more apparent than
+real, and have never been an obstacle to souls
+attracted by Horace. His pages are charged
+with sympathy for men. His lapses in taste
+are not numerous, and are, after all, less offensive
+than those of European letters today, after
+the coming of sin with the law. And he is
+not commonplace, but universal. His content
+is familiar matter of today as well as of his
+own time. His delightful natural settings are
+never novel, romantic, or forced; we have seen
+them all, in experience or in literature, again
+and again, and they make familiar and intimate
+appeal. Phidyle is neither ancient nor
+modern, Latin nor Teuton; she is all of them at
+once. The exquisite expressions of friendship
+in the odes to a Virgil, or a Septimius, are applicable
+to any age or nationality, or any person.
+The story of the town mouse and country
+mouse is always old and always new, and
+always true. <i>Mutato nomine de te</i> may be said
+<a id="Page_161" name="Page_161"></a><span class="pagenum">161</span>
+of it, and of all Horace's other stories; alter the
+names, and the story is about you. Their
+application and appeal are universal.</p>
+
+<p>"Without sustained inspiration, without profundity
+of thought, without impassioned song,"
+writes Duff, "he yet pierces to the universal
+heart.... His secret lies in sanity rather
+than impetus. Kindly and shrewd observer of
+the manifold activities of life, he draws vignettes
+therefrom and passes judgments
+thereon which awaken undying interest. <i>Non
+omnis moriar</i>&#8212;he remains fresh because he
+is human."</p>
+
+<p>Horace's philosophy of life may be imperfect
+for the militant humanitarian and the Christian,
+but, as a matter of fact, it is a complete
+and perfect thing in itself. Horace does not
+fret or fume. He is not morbid or unpleasantly
+melancholy. It is true that "his tempered and
+polished expression of common experience, free
+from transports and free from despairs, speaks
+more forcibly to ripe middle age than to
+youth," but it is not without its appeal also
+to youth. Horace sums up an attitude toward
+existence which all men, of whatever nation or
+time, can easily understand, and which all,
+at some moment or other, sympathize with. Whether
+<a id="Page_162" name="Page_162"></a><span class="pagenum">162</span>
+they believe in his philosophy of life
+or not, whether they put it into practice or
+not, it is always and everywhere attractive,&#8212;attractive
+because founded on clear and sympathetic
+vision of the joys and sorrows that are the
+common lot of men, attractive because of its
+frankness and manly courage, and, above all,
+attractive because of its object. So long as
+the one great object of human longing is peace
+of mind and heart, no philosophy which recognizes
+it will be without followers. The Christian
+is naturally unwilling to adopt the
+Horatian philosophy as a whole, but with its
+<i>summum bonum</i>, and with many of its recommendations,
+he is in perfect accord. Add
+Christian faith to it, or add it, so far as is
+consonant, to Christian faith, and either is
+enriched.</p>
+
+<p>We are better able now to appreciate the
+dynamic power of Horace the person. We may
+see it at work in the fostering of friendly affection,
+in the deepening of love for favorite spots
+of earth, in the encouragement of righteous
+purpose, in the true judging of life's values.</p>
+
+<p>Horace is the poet of friendship. With his
+address to "Virgil, the half of my soul," his
+references to Plotius, Varius, and Virgil as the
+<a id="Page_163" name="Page_163"></a><span class="pagenum">163</span>
+purest and whitest souls of earth, his affectionate
+messages in <i>Epistle</i> and <i>Ode</i>, he sets the
+heart of the reader aglow with love for his
+friends. "Nothing, while in my right mind,
+would I compare to the delight of a friend!"
+What numbers of men have had their hearts
+stirred to deeper love by the matchless ode to
+Septimius:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "S<i>eptimius, who with me would brave</i></div>
+<div class="i1">    F<i>ar Gades, and Cantabrian land</i></div>
+<div class="i0">  U<i>ntamed by Rome, and Moorish wave</i></div>
+<div class="i1">    T<i>hat whirls the sand</i>;</div>
+</div>
+
+<div class="stanza">
+<div class="quote">  "F<i>air Tibur, town of Argive kings</i>,</div>
+<div class="i1">    T<i>here would I end my days serene</i>,</div>
+<div class="i0">  A<i>t rest from seas and travelings</i>,</div>
+<div class="i1">    A<i>nd service seen</i>.</div>
+</div>
+
+<div class="stanza">
+<div class="quote">  "S<i>hould angry Fate those wishes foil</i>,</div>
+<div class="i1">    T<i>hen let me seek Galesus, sweet</i></div>
+<div class="i0">  T<i>o skin-clad sheep, and that rich soil</i>,</div>
+<div class="i1">    T<i>he Spartan's seat</i>.</div>
+</div>
+
+<div class="stanza">
+<div class="quote">  "O<i>h, what can match the green recess</i>,</div>
+<div class="i1">    W<i>hose honey not to Hybla yields</i>,</div>
+<div class="i0">  W<i>hose olives vie with those that bless</i></div>
+<div class="i1">   V<i>enafrum's fields</i>?</div>
+</div>
+
+<div><a id="Page_164" name="Page_164"></a><span class="pagenum">164</span></div>
+
+
+<div class="stanza">
+<div class="quote">  "L<i>ong springs, mild winters glad that spot</i></div>
+<div class="i1">    B<i>y Jove's good grace, and Aulon, dear</i></div>
+<div class="i0">  T<i>o fruitful Bacchus, envies not</i></div>
+<div class="i1">    F<i>alernian cheer</i>.</div>
+</div>
+
+<div class="stanza">
+<div class="quote">  "T<i>hat spot, those happy heights desire</i></div>
+<div class="i1">    O<i>ur sojourn; there, when life shall end</i>,</div>
+<div class="i0">  Y<i>our tear shall dew my yet warm pyre</i>,</div>
+<div class="i1">    Y<i>our bard and friend</i>."</div>
+</div></div>
+
+
+<p>And what numbers of men have taken to
+their hearts from the same ode the famous</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  Ille terrarum mihi praeter omnes</div>
+<div class="i0">  Angulus ridet,&#8212;</div>
+</div>
+
+
+
+<div class="stanza">
+<div class="i0">  Y<i>onder little nook of earth</i></div>
+<div class="i0">  B<i>eyond all others smiles on me</i>,&#8212;</div>
+</div></div>
+
+
+<p class="zero">and expressed through its perfect phrase the
+love they bear their own beloved nook of earth.
+"Happy Horace!" writes Sainte-Beuve on the
+margin of his edition, "what a fortune has
+been his! Why, because he once expressed in
+a few charming verses his fondness for the life
+of the country and described his favorite corner
+of earth, the lines composed for his own
+pleasure and for the friend to whom he addressed
+them have laid hold on the memory of
+<a id="Page_165" name="Page_165"></a><span class="pagenum">165</span>
+all men and have become so firmly lodged there
+that one can conceive no others, and finds only
+those when he feels the need of praising his own
+beloved retreat!"</p>
+
+<p>To speak of sterner virtues, what a source
+of inspiration to righteousness and constancy
+men have found in the apt and undying phrases
+of Horace! "Cornelius de Witt, when confronting
+the murderous mob; Condorcet, perishing
+in the straw of his filthy cell; Herrick,
+at his far-away old British revels; Leo, during
+his last days at the Vatican, and a thousand
+others," strengthened their resolution by repeating
+<i>Iustum et tenacem</i>:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="quote">  "T<i>he man of firm and noble soul</i></div>
+<div class="i1">    N<i>o factious clamors can control</i></div>
+<div class="i1">    N<i>o threat'ning tyrant's darkling brow</i></div>
+<div class="i2">      C<i>an swerve him from his just intent</i>....</div>
+<div class="i1">    A<i>y, and the red right arm of Jove</i>,</div>
+<div class="i1">    H<i>urtling his lightnings from above</i>,</div>
+<div class="i1">    W<i>ith all his terrors then unfurl'd</i>,</div>
+<div class="i2">      H<i>e would unmoved, unawed behold</i>:</div>
+<div class="i1">    T<i>he flames of an expiring world</i></div>
+<div class="i2">      A<i>gain in crashing chaos roll'd</i>,</div>
+<div class="i1">    I<i>n vast promiscuous ruin hurl'd</i>,</div>
+<div class="i1">    M<i>ust light his glorious funeral pile</i>:</div>
+<div class="i0">  S<i>till dauntless midst the wreck of earth he'd smile</i>."</div>
+</div></div>
+
+<p class="zero"><a id="Page_166" name="Page_166"></a><span class="pagenum">166</span>
+
+Of this passage Stemplinger records thirty-one
+imitations. How many have had their patriotism
+strengthened by <i>Dulce et decorum est pro
+patria mori</i>, the verse which is aptly found in
+modern Rome on the monument to those who
+fell at Dogali. How many have been supported
+and comforted in calamity and sorrow by the
+poet's immortal words of consolation on the
+death of Quintilius:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  Durum: sed levius fit patientia</div>
+<div class="i1">    Quicquid corrigere est nefas,&#8212;</div>
+</div>
+
+
+<div class="stanza">
+<div class="i0">  A<i>h, hard it is! but patience lends</i></div>
+<div class="i0">  S<i>trength to endure what Heaven sends</i>.</div>
+</div></div>
+
+
+<p>The motto of Warren Hastings was <i>Mens aequa
+in arduis</i>,&#8212;An even temper in times of trial.
+Even humorous use of these phrases has served
+a purpose. The French minister, compelled to
+resign, no doubt drew substantial consolation
+from <i>Virtute me involvo</i>, when he turned it to
+fit his case:</p>
+
+
+<div class="poem"><div class="stanza">
+<div class="i0">  I<i>n the robe of my virtue I wrap me round</i></div>
+<div class="i1">    A <i>solace for loss of all I had</i>;</div>
+<div class="i0">  B<i>ut ah! I realize I've found</i></div>
+<div class="i1">    W<i>hat it really means to be lightly clad</i>!</div>
+</div></div>
+<div><a id="Page_167" name="Page_167"></a><span class="pagenum">167</span></div>
+
+<p>But the most pronounced effect of Horace's
+dynamic power is its inspiration to sane and
+truthful living. Life seems a simple thing, yet
+there are many who miss the paths of happiness
+and wander in wretched discontent because they
+are not bred to distinguish between the false
+and the real. We have seen the lesson of
+Horace: that happiness is not from without,
+but from within; that it is not abundance that
+makes riches, but attitude; that the acceptation
+of worldly standards of getting and having
+means the life of the slave; that the fraction
+is better increased by division of the denominator
+than by multiplying the numerator; that
+unbought riches are better possessions than
+those the world displays as the prizes most
+worthy of striving for. No poet is so full of
+inspiration as Horace for those who have
+glimpsed these simple and easy yet little known
+secrets of living. Men of twenty centuries
+have been less dependent on the hard-won
+goods of this world because of him, and lived
+fuller and richer lives. Surely, to give our
+young people this attractive example of sane
+solution of the problem of happy living is to
+leaven the individual life and the life of the
+social mass.
+<a id="Page_168" name="Page_168"></a><span class="pagenum">168</span></p>
+
+
+
+
+<h2>IV. CONCLUSION</h2>
+
+
+<p>We have visualized the person of Horace and
+made his acquaintance. We have seen in his
+character and in the character of his times the
+sources of his greatness as a poet. We have
+seen in him the interpreter of his own times and
+the interpreter of the human heart in all times.
+We have traced the course of his influence
+through the ages as both man and poet. We
+have seen in him not only the interpreter of
+life, but a dynamic power that makes for the
+love of men, for righteousness, and for happier
+living. We have seen in him an example of the
+word made flesh. "He has forged a link of
+union," writes Tyrrell, "between intellects so
+diverse as those of Dante, Montaigne, Bossuet,
+La Fontaine, Voltaire, Hooker, Chesterfield,
+Gibbon, Wordsworth, Thackeray."</p>
+
+<p>To know Horace is to enter into a great
+communion of twenty centuries,&#8212;the communion
+of taste, the communion of charity,
+the communion of sane and kindly wisdom,
+the communion of the genuine, the communion
+<a id="Page_169" name="Page_169"></a><span class="pagenum">169</span>
+of righteousness, the communion of urbanity
+and of friendly affection.</p>
+
+<p>"Farewell, dear Horace; farewell, thou
+wise and kindly heathen; of mortals the most
+human, the friend of my friends and of so
+many generations of men."</p>
+<p><a id="Page_170" name="Page_170"></a><span class="pagenum">170</span></p>
+<hr class="minor" />
+<p><a id="Page_171" name="Page_171"></a><span class="pagenum">171</span></p>
+<hr class="minor" />
+<p><a id="Page_172" name="Page_172"></a><span class="pagenum">172</span></p>
+<hr class="minor" />
+<p><a id="Page_173" name="Page_173"></a><span class="pagenum">173</span></p>
+
+
+
+
+<h2>NOTES AND BIBLIOGRAPHY</h2>
+
+
+<p>The following groups of references are not meant as
+annotations in the usual sense. Those to the text of the
+poet are for such persons as wish to increase their
+acquaintance with Horace by reading at first hand the
+principal poems which have inspired the essayist's conclusions.
+The others are for those who desire to view
+in detail the working of the Horatian influence.</p>
+<div class="index">
+<ul class="ix">
+  <li><span class="sc">Horace the Person</span>:
+    <ul>
+    <li><i>Odes</i>, I. 27; 38; II. 3; 7; III. 8; IV. 11.</li>
+    <li><i>Satires</i>, I. 6; 9; II. 6.</li>
+    <li><i>Epistles</i>, I. 7; 10; 20.</li>
+    <li>Suetonius, <i>Life of Horace</i>. (see below.)</li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace the Poet</span>:
+    <ul>
+    <li><i>Odes</i>, I. 1; 3; 6; 12; 24; 35; II. 7; 16; III. 1; 21; 29; IV. 2; 3; 4.</li>
+    <li><i>Satires</i>, I. 4; 6.</li>
+    <li><i>Epistles</i>, I. 3; 20; II. 2.</li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace the Interpreter of His Times</span>:
+    <ul>
+    <li>Landscape;
+      <ul>
+      <li><i>Odes</i>, I. 4; 31; II. 3; 6; 14; 15; III. 1; 13; 18; 23.</li>
+      <li><i>Epistles</i>, I. 12; 14.</li>
+      </ul></li>
+    <li>Living;
+      <ul>
+      <li><i>Odes</i>, I. 1; III. 1; 2; 4; 6; IV. 5; <i>Epode</i>, 2.</li>
+      <li><i>Satires</i>, I. 1; II. 6.</li>
+      <li><i>Epistles</i>, I. 7; 10.</li>
+      </ul></li>
+    <li>Religion;
+      <ul>
+      <li><i>Odes</i>, I. 4; 10; 21; 30; 31; 34; III. 3; 13; 16; 18; 22; 23; IV. 5; 6; <i>Epode</i>, 2.</li>
+      </ul></li>
+    <li>Popular Wisdom;
+      <ul>
+      <li><i>Epistle</i>, I. 1; 4; II. 2.</li>
+      </ul></li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace the Philosopher of Life</span>:
+    <ul>
+    <li>The Spectator and Essayist; <i>Satires</i>, I. 4; II. 1.
+<a id="Page_174" name="Page_174"></a><span class="pagenum">174</span></li>
+    <li>The Vanity of Human Wishes;
+      <ul>
+      <li><i>Odes</i>, I. 4; 24; 28; II. 13; 14; 16; 18; III. 1; 16; 24; 29; IV. 7.</li>
+      <li><i>Satires</i>, I. 4; 6.</li>
+      <li><i>Epistles</i>, I. 1.</li>
+      </ul></li>
+    <li>The Pleasures of this World;
+      <ul>
+      <li><i>Odes</i>, I. 9; 11; 24; II. 3; 14; III. 8; 23; 29; IV. 12.</li>
+      <li><i>Epistles</i>, I. 4.</li>
+      </ul></li>
+    <li>Life and Morality;
+      <ul>
+      <li><i>Odes</i>, I. 5; 18; 19; 27; III. 6; 21; IV. 13.</li>
+      <li><i>Epistles</i>, I. 2; II. 1.</li>
+      </ul></li>
+    <li>Life and Purpose;
+      <ul>
+      <li><i>Odes</i>, I. 12; II. 2; 15; III. 2; 3; IV. 9; <i>Epode</i>, 2.</li>
+      <li><i>Satires</i>, I. 1.</li>
+      <li><i>Epistles</i>, I. 1.</li>
+      </ul></li>
+    <li>The Sources of Happiness;
+      <ul>
+      <li><i>Odes</i>, I. 31; II. 2; 16; 18; III. 16; IV. 9.</li>
+      <li><i>Satires</i>, I. 1; 6; II. 6.</li>
+      <li><i>Epistles</i>, I. 1; 2; 6; 10; 11; 12; 14; 16.</li>
+      </ul></li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace the Prophet</span>:
+    <ul>
+    <li><i>Odes</i>, II. 20; III. 1; 4; 30; IV. 2; 3.</li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace and Ancient Rome</span>:
+    <ul>
+    <li><i>Odes</i>, IV. 3.</li>
+    <li><i>Epistles</i>, I. 20.</li>
+    <li>Suetonius, <i>Vita Horati, Life of Horace</i>, Translation, J.C. Rolfe, in <i>The Loeb Classical Library</i>, New York, 1914.</li>
+    <li>Hertz, Martin, <i>Analecta ad carminum Horatianorum Historiam</i>, i-v. Breslau, 1876-82.</li>
+    <li>Schanz, Martin, <i>Geschichte der Römischen Litteratur</i>. München, 1911.</li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace and the Middle Age</span>:
+    <ul>
+    <li>Manitius, Maximilian, <i>Analekten zur Geschichte des Horaz im Mittelalter, bis 1300</i>. Göttingen, 1893.</li>
+    </ul>
+<a id="Page_175" name="Page_175"></a><span class="pagenum">175</span></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace and Modern Times</span>:
+    <ul>
+    <li>In Italy;
+      <ul>
+      <li>Curcio, Gaetano Gustavo, <i>Q. Orazio Flacco, studiato in Italia dal secolo XIII al XVIII</i>. Catania, 1913.</li>
+      </ul></li>
+    <li>In France and Germany;
+      <ul>
+      <li>Imelmann, J., <i>Donec gratus eram tibi, Nachdichtungen und Nachklänge aus drei Jahrhunderten</i>. Berlin, 1899.</li>
+      <li>Stemplinger, Eduard, <i>Das Fortleben der Horazischen Lyrik seit der Renaissance</i>. Leipzig, 1906.</li>
+      </ul></li>
+    <li>In Spain;
+      <ul>
+      <li>Menéndez y Pelayo, D. Marcelino, <i>Horacio en España</i>, 2 vols. Madrid, 1885.[2]</li>
+      </ul></li>
+    <li>In England;
+      <ul>
+      <li>Goad, Caroline, <i>Horace in the English Literature of the Eighteenth Century</i>. New Haven, 1918.</li>
+      <li>Myers, Weldon T., <i>The Relations of Latin and English as Living Languages in England during the Age of Milton</i>. Dayton, Virginia, 1913.</li>
+      <li>Nitchie, Elizabeth, "Horace and Thackeray," in <i>The Classical Journal</i>, XIII. 393-410 (1918).</li>
+      <li>Shorey, Paul, and Laing, Gordon J., <i>Horace: Odes and Epodes</i> (Revised Edition). Boston, 1910.</li>
+      <li>Thayer, Mary R., <i>The Influence of Horace on the Chief English Poets of the Nineteenth Century</i>. New Haven, 1916.</li>
+      </ul></li>
+    </ul></li>
+<li>&nbsp;</li>
+
+  <li><span class="sc">Horace the Dynamic</span>:
+    <ul>
+    <li><i>Ars Poetica.</i></li>
+    <li>Cowl, R.P., <i>The Theory of Poetry in England; its development in doctrines and ideas from the sixteenth century to the nineteenth century</i>. London, 1914.</li>
+    <li>Dobson, Henry Austin, <i>Collected Poems</i>, Vol. I, 135, 181, 219, 222, 224, 231, 236, 245, 263; II. 66, 83, 243, etc. London, 1899.</li>
+    <li>Gladstone, W.E., <i>The Odes of Horace</i>, English Verse Translation. New York, 1901.</li>
+    <li>Kipling, Rudyard, et Graves, C.L., <i>Q. Horati Flacci Carminum Liber Quintus</i>. New Haven, 1920.[3]
+    <a id="Page_176" name="Page_176"></a><span class="pagenum">176</span></li>
+    <li>Lang, Andrew, <i>Letters to Dead Authors</i>. New York, 1893.</li>
+    <li>Martin, Sir Theodore, <i>The Odes of Horace</i>; translated into English verse. London, 1861.[2]</li>
+    <li>Untermeyer, Louis, "<i>&#8212;and Other Poets</i>." New York, 1916.</li>
+    <li>Whicher, G.M. and G.F., <i>On the Tibur Road, a Freshman's Horace</i>. Princeton, 1912.<br /></li>
+    </ul>
+  </li>
+</ul>
+</div>
+
+<p>Besides the works mentioned above, reference should
+be made to:</p>
+
+<div class="index">
+<ul class="ix">
+  <li><span class="sc">Campaux, A.</span>, <i>Des raisons de la popularité d'Horace en
+  France</i>. Paris, 1895.</li>
+  <li><span class="sc">D'alton, J.F.</span>, <i>Horace and His Age</i>. London, 1917.</li>
+  <li><span class="sc">McCrea, N.G.</span>, <i>Horatian Criticism of Life</i>. New York,
+  1917.</li>
+  <li><span class="sc">Stemplinger, Eduard</span>, <i>Horaz im Urteil der Jahrhunderte</i>.
+  Leipzig, 1921.</li>
+  <li><span class="sc">Taylor, Henry Osborn</span>, <i>The Classical Heritage of the
+  Middle Ages</i>. New York, 1903.[2]</li>
+  <li><i>The Century Horace.</i></li>
+</ul>
+</div>
+
+<p class="zero">  and, also, to the two following works, cited and quoted
+  in the text:</p>
+
+<div class="index">
+<ul class="ix">
+  <li><span class="sc">Duff, J. Wight</span>, <i>A Literary History of Rome</i>. London,
+  1910.[2] (p. 545)</li>
+  <li><span class="sc">Tyrrell, R.Y.</span>, <i>Latin Poetry</i>. Boston, (lectures delivered
+  at The Johns Hopkins University, 1893). (p.
+  164)</li>
+</ul>
+</div>
+<p><i>Note</i>: Translations of Horace, not otherwise assigned
+or not enclosed in quotation marks, are those of G.S.
+<a id="Page_177" name="Page_177"></a><span class="pagenum">177</span></p>
+
+
+
+<p><a id="Page_178" name="Page_178"></a><span class="pagenum">178</span></p>
+
+<h3><b>Our Debt to Greece and Rome</b></h3>
+
+<h2>AUTHORS AND TITLES</h2>
+
+
+<div class="index">
+<ul>
+<li>   1. <span class="sc">Homer.</span> John A. Scott, <i>Northwestern University</i>.</li>
+<li>   2. <span class="sc">Sappho.</span> David M. Robinson, <i>The Johns Hopkins University</i>.</li>
+<li>   3<span class="sc">a. Euripides.</span> F.L. Lucas, <i>King's College, Cambridge</i>.</li>
+<li>   3<span class="sc">b. Aeschylus and Sophocles.</span> J.T. Sheppard, <i>King's College, Cambridge</i>.</li>
+<li>   4. <span class="sc">Aristophanes.</span> Louis E. Lord, <i>Oberlin College</i>.</li>
+<li>   5. <span class="sc">Demosthenes.</span> Charles D. Adams, <i>Dartmouth College</i>.</li>
+<li>   6. <span class="sc">Aristotle's Poetics.</span> Lane Cooper, <i>Cornell University</i>.</li>
+<li>   7. <span class="sc">Greek Historians.</span> Alfred E. Zimmern, <i>University of Wales</i>.</li>
+<li>   8. <span class="sc">Lucian.</span> Francis G. Allinson, <i>Brown University</i>.</li>
+<li>   9. <span class="sc">Plautus and Terence.</span> Charles Knapp, <i>Barnard College</i>, <i>Columbia University</i>.</li>
+<li>  10<span class="sc">a. Cicero.</span> John C. Rolfe, <i>University of Pennsylvania</i>.</li>
+<li>  10<span class="sc">b. Cicero as Philosopher.</span> Nelson G. McCrea, <i>Columbia University</i>.</li>
+<li>  11. <span class="sc">Catullus.</span> Karl P. Harrington, <i>Wesleyan University</i>.</li>
+<li>  12. <span class="sc">Lucretius and Epicureanism.</span> George Depue Hadzsits, <i>University of Pennsylvania</i>.</li>
+<li>  13. <span class="sc">Ovid.</span> Edward K. Rand, <i>Harvard University</i>.</li>
+<li>  14. <span class="sc">Horace.</span> Grant Showerman, <i>University of Wisconsin</i>.</li>
+<li>  15. <span class="sc">Virgil.</span> John William Mackail, <i>Balliol College, Oxford</i>.</li>
+<li>  16. <span class="sc">Seneca.</span> Richard Mott Gummere, <i>The William Penn Charter School</i>.</li>
+<li>  17. <span class="sc">Roman Historians.</span> G. Ferrero, <i>Florence</i>.</li>
+<li>  18. <span class="sc">Martial.</span> Paul Nixon, <i>Bowdoin College</i>.</li>
+<li>  19. <span class="sc">Platonism.</span> Alfred Edward Taylor, <i>University of Edinburgh</i>.</li>
+<li>  20. <span class="sc">Aristotelianism.</span> John L. Stocks, <i>University of Manchester</i>, <i>Manchester</i>.</li>
+<li>  21. Stoicism. Robert Mark Wenley, <i>University of Michigan</i>.</li>
+<li>  22. <span class="sc">Language and Philology.</span> Roland G. Kent, <i>University of Pennsylvania</i>.</li>
+<li>  23. <span class="sc">Rhetoric and Literary Criticism.</span> (Greek) W. Rhys Roberts, <i>Leeds University</i>.</li>
+<li>  24. <span class="sc">Greek Religion.</span> Walter W. Hyde, <i>University of Pennsylvania</i>.</li>
+<li>  25. <span class="sc">Roman Religion.</span> Gordon J. Laing, <i>University of Chicago</i>.
+<a id="Page_179" name="Page_179"></a><span class="pagenum">179</span></li>
+<li>  26. <span class="sc">Mythologies.</span> Jane Ellen Harrison, <i>Newnham College, Cambridge</i>.</li>
+<li>  27. <span class="sc">Theories Regarding the Immortality of the Soul.</span> Clifford H. Moore, <i>Harvard University</i>.</li>
+<li>  28. <span class="sc">Stage Antiquities.</span> James T. Allen, <i>University of California</i>.</li>
+<li>  29. <span class="sc">Greek Politics.</span> Ernest Barker, <i>King's College</i>, <i>University of London</i>.</li>
+<li>  30. <span class="sc">Roman Politics.</span> Frank Frost Abbott, <i>Princeton University</i>.</li>
+<li>  31. <span class="sc">Roman Law.</span> Roscoe Pound, <i>Harvard Law School</i>.</li>
+<li>  32. <span class="sc">Economics and Society.</span> M.T. Rostovtzeff, <i>Yale University</i>.</li>
+<li>  33. <span class="sc">Warfare by Land and Sea.</span> E.S. McCartney, <i>University of Michigan</i>.</li>
+<li>  34. <span class="sc">The Greek Fathers.</span> Roy J. Deferrari, <i>The Catholic University of America</i>.</li>
+<li>  35. <span class="sc">Biology and Medicine.</span> Henry Osborn Taylor, <i>New York</i>.</li>
+<li>  36. <span class="sc">Mathematics.</span> David Eugene Smith, <i>Teachers College</i>, <i>Columbia University</i>.</li>
+<li>  37. <span class="sc">Love of Nature.</span> H.R. Fairclough, <i>Leland Stanford Junior University</i>.</li>
+<li>  38. <span class="sc">Astronomy and Astrology.</span> Franz Cumont, <i>Brussels</i>.</li>
+<li>  39. <span class="sc">The Fine Arts.</span> Arthur Fairbanks, <i>Museum of Fine Arts, Boston</i>.</li>
+<li>  40. <span class="sc">Architecture.</span> Alfred M. Brooks, <i>Swarthmore College</i>.</li>
+<li>  41. <span class="sc">Engineering.</span> Alexander P. Gest, <i>Philadelphia</i>.</li>
+<li>  42. <span class="sc">Greek Private Life, Its Survivals.</span> Charles Burton Gulick, <i>Harvard University</i>.</li>
+<li>  43. <span class="sc">Roman Private Life, Its Survivals.</span> Walton B. McDaniel, <i>University of Pennsylvania</i>.</li>
+<li>  44. <span class="sc">Folk Lore.</span></li>
+<li>&nbsp;</li>
+<li>  45. <span class="sc">Greek and Roman Education.</span></li>
+<li>&nbsp;</li>
+<li>  46. <span class="sc">Christian Latin Writers.</span> Andrew F. West, <i>Princeton University</i>.</li>
+<li>  47. <span class="sc">Roman Poetry and Its Influence upon European Culture.</span> Paul Shorey, <i>University of Chicago</i>.</li>
+<li>  48. <span class="sc">Psychology.</span></li>
+<li>  49. <span class="sc">Music.</span> Théodore Reinach, <i>Paris</i>.</li>
+<li>  50. <span class="sc">Ancient and Modern Rome.</span> Rodolfo Lanciani, <i>Rome</i>.</li>
+</ul>
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
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+The Project Gutenberg eBook, Horace and His Influence, by Grant Showerman
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Horace and His Influence
+
+
+Author: Grant Showerman
+
+
+
+Release Date: October 4, 2005  [eBook #16801]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK HORACE AND HIS INFLUENCE***
+
+
+E-text prepared by Marilynda Fraser-Cunliffe, Leonard Johnson, and the
+Project Gutenberg Online Distributed Proofreading Team
+(https://www.pgdp.net/)
+
+
+
+HORACE AND HIS INFLUENCE
+
+by
+
+GRANT SHOWERMAN
+
+
+     *     *     *     *     *     *
+
+
+
+Our Debt to Greece and Rome
+
+Editors
+
+George Depue Hadzsits, Ph.D.
+University of Pennsylvania
+
+David Moore Robinson, Ph.D., Ll.D.
+The Johns Hopkins University
+
+
+[Illustration]
+
+
+
+Contributors to the "Our Debt to
+Greece and Rome Fund," Whose
+Generosity Has Made Possible
+the Library
+
+Our Debt to Greece and Rome
+
+      Philadelphia
+
+  DR. ASTLEY P.C. ASHHURST
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+  The Philadelphia Society for the Promotion of Liberal Studies.
+
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+
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+
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+
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+
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+
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+
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+
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+
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+
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+
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+
+      New York
+
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+  WILLARD V. KING
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+  DWIGHT W. MORROW
+  MRS. D.W. MORROW
+  _Senatori Societatis Philosophiae_, [Greek: PhBK], _gratias maximas
+        agimus_
+  ELIHU ROOT
+  MORTIMER L. SCHIFF
+  WILLIAM SLOANE
+  GEORGE W. WICKERSHAM
+  And one contributor, who has asked to have his name withheld:
+  _Maecenas atavis edite regibus,_
+  _O et praesidium et dulce decus meum._
+
+      Washington
+
+  The Greek Embassy at Washington, for the Greek Government.
+
+
+     *     *     *     *     *     *
+
+
+HORACE AND HIS INFLUENCE
+
+by
+
+GRANT SHOWERMAN
+
+Professor of Classics
+The University of Wisconsin
+
+George G. Harrap & Co., Ltd.
+London     Calcutta     Sydney
+
+The Plimpton Press     Norwood     Massachusetts
+
+1922
+
+
+
+
+
+
+To
+HOWARD LESLIE SMITH
+LOVER OF LETTERS
+
+
+
+
+SABINE HILLS
+
+  O_n Sabine hills when melt the snows_,
+  S_till level-full His river flows_;
+  E_ach April now His valley fills_
+  W_ith cyclamen and daffodils_;
+  A_nd summers wither with the rose_.
+
+  S_wift-waning moons the cycle close_:
+  B_irth,--toil,--mirth,--death; life onward goes_
+  T_hrough harvest heat or winter chills_
+        O_n Sabine hills_.
+
+  Y_et One breaks not His long repose_,
+  N_or hither comes when Zephyr blows_;
+  I_n vain the spring's first swallow trills_;
+  N_ever again that Presence thrills_;
+  O_ne charm no circling season knows_
+        O_n Sabine hills_.
+
+                          GEORGE MEASON WHICHER
+
+
+
+
+EDITORS' PREFACE
+
+
+The volume on Horace and His Influence by Doctor Showerman is the second
+to appear in the Series, known as "Our Debt to Greece and Rome."
+
+Doctor Showerman has told the story of this influence in what seems to
+us the most effective manner possible, by revealing the spiritual
+qualities of Horace and the reasons for their appeal to many generations
+of men. These were the crown of the personality and work of the ancient
+poet, and admiration of them has through successive ages always been a
+token of aspiration and of a striving for better things.
+
+The purpose of the volumes in this Series will be to show the influence
+of virtually all of the great forces of the Greek and Roman
+civilizations upon subsequent life and thought and the extent to which
+these are interwoven into the fabric of our own life of to-day. Thereby
+we shall all know more clearly the nature of our inheritance from the
+past and shall comprehend more steadily the currents of our own life,
+their direction and their value. This is, we take it, of considerable
+importance for life as a whole, whether for correct thinking or for true
+idealism.
+
+The supremacy of Horace within the limits that he set for himself is no
+fortuity, and the miracle of his achievement will always remain an
+inspiration for some. But it is not as a distant ideal for a few, but as
+a living and vital force for all, that we should approach him; and to
+assist in this is the aim of our little volume.
+
+The significance of Horace to the twentieth century will gain in clarity
+from an understanding of his meaning to other days. We shall discover
+that the eternal verity of his message, whether in ethics or in art,
+comes to _us_ with a very particular challenge, warning and cry.
+
+
+
+
+CONTENTS
+
+
+  CHAPTER                                              PAGE
+
+    CONTRIBUTORS TO THE FUND                            ii
+    SABINE HILLS                                       vii
+    EDITORS' PREFACE                                    ix
+    INTRODUCTION: THE DYNAMISM OF THE FEW             xiii
+
+  I. HORACE INTERPRETED
+    The Appeal of Horace                                 3
+    1. Horace the Person                                 6
+    2. Horace the Poet                                   9
+    3. Horace the Interpreter of His Times
+       Horace the Duality                               23
+         i. The Interpreter of Italian Landscape        25
+        ii. The Interpreter of Italian Living           28
+       iii. The Interpreter of Roman Religion           31
+        iv. The Interpreter of the Popular Wisdom       35
+       Horace and Hellenism                             38
+    4. Horace the Philosopher of Life
+       Horace the Spectator and Essayist                39
+         i. The Vanity of Human Wishes                  44
+        ii. The Pleasures of this World                 49
+       iii. Life and Morality                           54
+        iv. Life and Purpose                            59
+         v. The Sources of Happiness                    62
+  II. HORACE THROUGH THE AGES
+    Introductory                                        69
+    1. Horace the Prophet                               70
+    2. Horace and Ancient Rome                          75
+    3. Horace and the Middle Age                        87
+    4. Horace and Modern Times
+       The Rebirth of Horace                           104
+         i. In Italy                                   106
+        ii. In France                                  114
+       iii. In Germany                                 115
+        iv. In Spain                                   118
+         v. In England                                 121
+        vi. In the Schools                             126
+  III. HORACE THE DYNAMIC
+    The Cultivated Few                                 127
+    1. Horace and the Literary Ideal                   131
+    2. Horace and Literary Creation
+         i. The Translator's Ideal                     136
+        ii. Creation                                   143
+    3. Horace in the Living of Men                     152
+  IV. CONCLUSION                                       168
+    NOTES AND BIBLIOGRAPHY                             171
+
+
+
+
+INTRODUCTION: THE DYNAMISM
+OF THE FEW
+
+
+To those who stand in the midst of times and attempt to grasp their
+meaning, civilization often seems hopelessly complicated. The myriad and
+mysterious interthreading of motive and action, of cause and effect,
+presents to the near vision no semblance of a pattern, and the whole web
+is so confused and meaningless that the mind grows to doubt the presence
+of design, and becomes skeptical of the necessity, or even the
+importance, of any single strand.
+
+Yet civilization is on the whole a simple and easily understood
+phenomenon. This is true most apparently of that part of the human
+family of which Europe and the Americas form the principal portion, and
+whose influences have made themselves felt also in remote continents. If
+to us it is less apparently true of the world outside our western
+civilization, the reason lies in the fact that we are not in possession
+of equal facilities for the exercise of judgment.
+
+We are all members one of another, and the body which we form is a
+consistent and more or less unchanging whole. There are certain
+elemental facts which underlie human society wherever it has advanced to
+a stage deserving the name of civilization. There is the intellectual
+impulse, with the restraining influence of reason upon the relations of
+men. There is the active desire to be in right relation with the
+unknown, which we call religion. There is the attempt at the
+beautification of life, which we call art. There is the institution of
+property. There is the institution of marriage. There is the demand for
+the purity of woman. There is the insistence upon certain decencies and
+certain conformities which constitute what is known as morality. There
+is the exchange of material conveniences called commerce, with its
+necessary adjunct, the sanctity of obligation. In a word, there are the
+universal and eternal verities.
+
+Farther, if what we may call the constitution of civilization is thus
+definite, its physical limits are even more clearly defined.
+Civilization is a matter of centers. The world is not large, and its
+government rests upon the shoulders of the few. The metropolis is the
+index of capacity for good and ill in a national civilization. Its
+culture is representative of the common life of town and country.
+
+It follows that the history of civilization is a history of the famous
+gathering-places of men. The story of human progress in the West is the
+story of Memphis, Thebes, Babylon, Nineveh, Cnossus, Athens, Alexandria,
+Rome, and of medieval, Renaissance, and modern capitals. History is a
+stream, in the remoter antiquity of Egypt and Mesopotamia confined
+within narrow and comparatively definite banks, gathering in volume and
+swiftness as it flows through Hellenic lands, and at last expanding into
+the broad and deep basin of Rome, whence its current, dividing, leads
+away in various channels to other ample basins, perhaps in the course of
+time to reunite at some great meeting of waters in the New World. To one
+afloat in the swirl of contradictory eddies, it may be difficult to
+judge of the whence and whither of the troubled current, but the ascent
+of the stream and the exploration of the sources of literature and the
+arts, of morals, politics, and religion, of commerce and mechanics, is
+on the whole no difficult adventure.
+
+Finally, civilization is not only a matter of local habitation, but a
+matter of individual men. The great city is both determined by, and
+determines, its environment; the great man is the product, and in turn
+the producer, of the culture of his nation. The human race is gregarious
+and sequacious, rather than individual and adventurous. Progress depends
+upon the initiative of spirited and gifted men, rather than upon the
+tardy movement of the mass, upon idea rather than force, upon spirit
+rather than matter.
+
+I preface my essay with these reflections because there may be readers
+at first thought skeptical of even modest statements regarding Horace as
+a force in the history of our culture and a contributor to our life
+today. It is only when the continuity of history and the essential
+simplicity and constancy of civilization are understood that the direct
+and vital connection between past and present is seen, and the mind is
+no longer startled and incredulous when the historian records that the
+Acropolis has had more to do with the career of architecture than any
+other group of buildings in the world, or that the most potent influence
+in the history of prose is the Latin of Cicero, or that poetic
+expression is more choice and many men appreciably saner and happier
+because of a Roman poet dead now one thousand nine hundred and thirty
+years.
+
+
+
+
+HORACE AND HIS
+INFLUENCE
+
+
+
+
+I. HORACE INTERPRETED
+
+THE APPEAL OF HORACE
+
+
+In estimating the effect of Horace upon his own and later times, we must
+take into account two aspects of his work. These are, the forms in which
+he expressed himself, and the substance of which they are the garment.
+We shall find him distinguished in both; but in the substance of his
+message we shall find him distinguished by a quality which sets him
+apart from other poets ancient and modern.
+
+This distinctive quality lies neither in the originality nor in the
+novelty of the Horatian message, which, as a matter of fact, is
+surprisingly familiar, and perhaps even commonplace. It lies rather in
+the appealing manner and mood of its communication. It is a message
+living and vibrant.
+
+The reason for this is that in Horace we have, above all, a person. No
+poet speaks from the page with greater directness, no poet establishes
+so easily and so completely the personal relation with the reader, no
+poet is remembered so much as if he were a friend in the flesh. In this
+respect, Horace among poets is a parallel to Thackeray in the field of
+the novel. What the letters of Cicero are to the intrigue and turmoil of
+politics, war, and the minor joys and sorrows of private and social life
+in the last days of the Republic, the lyrics and "Conversations" of
+Horace are to the mood of the philosophic mind of the early Empire. Both
+are lights which afford us a clear view of interiors otherwise but
+faintly illuminated. They are priceless interpreters of their times. In
+modern times, we make environment interpret the poet. We understand a
+Tennyson, a Milton, or even a Shakespeare, from our knowledge of the
+world in which he lived. In the case of antiquity, the process is
+reversed. We reconstruct the times of Caesar and Augustus from fortunate
+acquaintance with two of the most representative men who ever possessed
+the gift of literary genius.
+
+It is because Horace's appeal depends so largely upon his qualities as a
+person that our interpretation of him must center about his personal
+traits. We shall re-present to the imagination his personal appearance.
+We shall account for the personal qualities which contributed to the
+poetic gift that set him apart as the interpreter of the age to his own
+and succeeding generations. We shall observe the natural sympathy with
+men and things by reason of which he reflects with peculiar faithfulness
+the life of city and country. We shall become acquainted with the
+thoughts and the moods of a mind and heart that were nicely sensitive to
+sight and sound and personal contact. We shall hear what the poet has to
+say of himself not only as a member of the human family, but as the user
+of the pen.
+
+This interpretation of Horace as person and poet will be best attempted
+from his own work, and best expressed in his own phrase. The pages which
+follow are a manner of Horatian mosaic. They contain little not said or
+suggested by the poet himself.
+
+
+
+1. HORACE THE PERSON
+
+Horace was of slight stature among even a slight-statured race. At the
+period when we like him best, when he was growing mellower and better
+with advancing years, his black hair was more than evenly mingled with
+grey. The naturally dark and probably not too finely-textured skin of
+face and expansive forehead was deepened by the friendly breezes of both
+city and country to the vigorous golden brown of the Italian. Feature
+and eye held the mirror up to a spirit quick to anger but plenteous in
+good-nature. Altogether, Horace was a short, rotund man, smiling but
+serious, of nothing very remarkable either in appearance or in manner,
+and with a look of the plain citizen. Of all the ancients who have left
+no material likeness, he is the least difficult to know in person.
+
+We see him in a carriage or at the shows with Maecenas, the Emperor's
+fastidious counsellor. We have charming glimpses of him enjoying in
+company the hospitable shade of huge pine and white poplar on the grassy
+terrace of some rose-perfumed Italian garden with noisy fountain and
+hurrying stream. He loiters, with eyes bent on the pavement, along the
+winding Sacred Way that leads to the Forum, or on his way home struggles
+against the crowd as it pushes its way down town amid the dust and din
+of the busy city. He shrugs his shoulders in good-humored despair as the
+sirocco brings lassitude and irritation from beyond the Mediterranean,
+or he sits huddled up in some village by the sea, shivering with the
+winds from the Alps, reading, and waiting for the first swallow to
+herald the spring.
+
+We see him at a mild game of tennis in the broad grounds of the Campus
+Martius. We see him of an evening vagabonding among the nameless common
+folk of Rome, engaging in small talk with dealers in small merchandise.
+He may look in upon a party of carousing friends, with banter that is
+not without reproof. We find him lionized in the homes of the first men
+of the city in peace and war, where he mystifies the not too
+intellectual fair guests with graceful and provokingly passionless
+gallantry. He sits at ease with greater enjoyment under the opaque vine
+and trellis of his own garden. He appears in the midst of his household
+as it bustles with preparation for the birthday feast of a friend, or he
+welcomes at a less formal board and with more unrestrained joy the
+beloved comrade-in-arms of Philippi, prolonging the genial intercourse
+
+  "T_ill Phoebus the red East unbars_
+  A_nd puts to rout the trembling stars_."
+
+Or we see him bestride an indifferent nag, cantering down the Appian
+Way, with its border of tombs, toward the towering dark-green summits of
+the Alban Mount, twenty miles away, or climbing the winding white road
+to Tivoli where it reclines on the nearest slope of the Sabines, and
+pursuing the way beyond it along the banks of headlong Anio where it
+rushes from the mountains to join the Tiber. We see him finally arrived
+at his Sabine farm, the gift of Maecenas, standing in tunic-sleeves at
+his doorway in the morning sun, and contemplating with thankful heart
+valley and hill-side opposite, and the cold stream of Digentia in the
+valley-bottom below. We see him rambling about the wooded uplands of his
+little estate, and resting in the shade of a decaying rustic temple to
+indite a letter to the friend whose not being present is all that keeps
+him from perfect happiness. He participates with the near-by villagers
+in the joys of the rural holiday. He mingles homely philosophy and
+fiction with country neighbors before his own hearth in the big
+living-room of the farm-house.
+
+Horace's place is not among the dim and uncertain figures of a hoary
+antiquity. Only give him modern shoes, an Italian cloak, and a
+walking-stick, instead of sandals and toga, and he may be seen on the
+streets of Rome today. Nor is he less modern in character and bearing
+than in appearance. We discern in his composition the same strange and
+seemingly contradictory blend of the grave and gay, the lively and
+severe, the constant and the mercurial, the austere and the trivial, the
+dignified and the careless, that is so baffling to the observer of
+Italian character and conduct today.
+
+
+
+2. HORACE THE POET
+
+To understand how Horace came to be a great poet as well as an engaging
+person, it is necessary to look beneath this somewhat commonplace
+exterior, and to discern the spiritual man.
+
+The foundations of literature are laid in life. For the production of
+great poetry two conditions are necessary. There must be, first, an age
+pregnant with the celestial fires of deep emotion. Second, there must be
+in its midst one of the rare men whom we call inspired. He must be of
+such sensitive spiritual fiber as to vibrate to every breeze of the
+national passion, of such spiritual capacity as to assimilate the common
+thoughts and moods of the time, of such fine perception and of such
+sureness of command over word, phrase, and rhythm, as to give crowning
+expression to what his soul has made its own.
+
+For abundance of stirring and fertilizing experience, history presents
+few equals of the times when Horace lived. His lifetime fell in an age
+which was in continual travail with great and uncertain movement. Never
+has Fortune taken greater delight in her bitter and insolent game, never
+displayed a greater pertinacity in the derision of men. In the period
+from Horace's birth at Venusia in southeastern Italy, on December 8,
+B.C. 65, to November 27, B.C. 8, when
+
+  "M_ourned of men and Muses nine_,
+  T_hey laid him on the Esquiline_,"
+
+there occurred the series of great events, to men in their midst
+incomprehensible, bewildering, and disheartening, which after times
+could readily interpret as the inevitable change from the ancient and
+decaying Republic to the better knit if less free life of the Empire.
+
+We are at an immense distance, and the differences have long since been
+composed. The menacing murmur of trumpets is no longer audible, and the
+seas are no longer red with blood. The picture is old, and faded, and
+darkened, and leaves us cold, until we illuminate it with the light of
+imagination. Then first we see, or rather feel, the magnitude of the
+time: its hatreds and its selfishness; its differences of opinion,
+sometimes honest and sometimes disingenuous, but always maintained with
+the heat of passion; its divisions of friends and families; its
+lawlessness and violence; its terrifying uncertainties and adventurous
+plunges; its tragedies of confiscation, murder, fire, proscription,
+feud, insurrection, riot, war; the dramatic exits of the leading actors
+in the great play,--of Catiline at Pistoria, of Crassus in the eastern
+deserts, of Clodius at Bovillae within sight of the gates of Rome, of
+Pompey in Egypt, of Cato in Africa, of Caesar, Servius Sulpicius,
+Marcellus, Trebonius and Dolabella, Hirtius and Pansa, Decimus Brutus,
+the Ciceros, Marcus Brutus and Cassius, Sextus the son of Pompey, Antony
+and Cleopatra,--as one after another
+
+  "S_trutted and fretted his hour upon the stage_,
+  A_nd then was heard no more_."
+
+It is in relief against a background such as this that Horace's works
+should be read,--the _Satires_, published in 35 and 30, which the poet
+himself calls _Sermones_, "Conversations," "Talks," or _Causeries_; the
+collection of lyrics called _Epodes_, in 29; three books of _Odes_ in
+23; a book of _Epistles_, or further _Causeries_, in 20; the _Secular
+Hymn_ in 17; a second book of _Epistles_ in 14; a fourth book of _Odes_
+in 13; and a final _Epistle_, _On the Art of Poetry_, at a later and
+uncertain date.
+
+It is above all against such a background that Horace's invocation to
+Fortune should be read:
+
+  G_oddess, at lovely Antium is thy shrine_:
+  R_eady art thou to raise with grace divine_
+  O_ur mortal frame from lowliest dust of earth_,
+  O_r turn triumph to funeral for thy mirth_;
+
+or that other expression of the inscrutable uncertainty of the human
+lot:
+
+  F_ortune, whose joy is e'er our woe and shame_,
+  W_ith hard persistence plays her mocking game_;
+  B_estowing favors all inconstantly_,
+  K_indly to others now, and now to me_.
+  W_ith me, I praise her; if her wings she lift_
+  T_o leave me, I resign her every gift_,
+  A_nd, cloaked about in my own virtue's pride_,
+  W_ed honest poverty, the dowerless bride_.
+
+Horace is not here the idle singer of an empty day. His utterance may be
+a universal, but in the light of history it is no commonplace. It is the
+eloquent record of the life of Rome in an age which for intensity is
+unparalleled in the annals of the ancient world.
+
+And yet men may live a longer span of years than fell to the lot of
+Horace, and in times no less pregnant with event, and still fail to come
+into really close contact with life. Horace's experience was
+comprehensive, and touched the life of his generation at many points. He
+was born in a little country town in a province distant from the
+capital. His father, at one time a slave, and always of humble calling,
+was a man of independent spirit, robust sense, and excellent character,
+whose constant and intimate companionship left everlasting gratitude in
+the heart of the son. He provided for the little Horace's education at
+first among the sons of the "great" centurions who constituted the
+society of the garrison-town of Venusia, afterwards ambitiously took him
+to Rome to acquire even the accomplishments usual among the sons of
+senators, and finally sent him to Athens, garner of wisdom of the ages,
+where the learning of the past was constantly made to live again by
+masters with the quick Athenian spirit of telling or hearing new things.
+
+The intellectual experience of Horace's younger days was thus of the
+broadest character. Into it there entered and were blended the shrewd
+practical understanding of the Italian provincial; the ornamental
+accomplishments of the upper classes; the inspiration of Rome's history,
+with the long line of heroic figures that appear in the twelfth _Ode_ of
+the first book like a gallery of magnificent portraits; first-hand
+knowledge of prominent men of action and letters; unceasing discussion
+of questions of the day which could be avoided by none; and, finally,
+humanizing contact on their own soil with Greek philosophy and poetry,
+Greek monuments and history, and teachers of racial as well as
+intellectual descent from the greatest people of the past.
+
+But Horace's experience assumed still greater proportions. He passed
+from the university of Athens to the larger university of life. The news
+of Caesar's death at the hands of the "Liberators," which reached him as
+a student there at the age of twenty-one, and the arrival of Brutus some
+months after, stirred his young blood. As an officer in the army of
+Brutus, he underwent the hardships of the long campaign, enriching life
+with new friendships formed in circumstances that have always tightened
+the friendly bond. He saw the disastrous day of Philippi, narrowly
+escaped death by shipwreck, and on his return to Italy and Rome found
+himself without father or fortune.
+
+Nor was the return to Rome the end of his education. In the interval
+which followed, Horace's mind, always of philosophic bent, was no doubt
+busy with reflection upon the disparity between the ideals of the
+liberators and the practical results of their actions, upon the
+difference between the disorganized, anarchical Rome of the civil war
+and the gradually knitting Rome of Augustus, and upon the futility of
+presuming to judge the righteousness either of motives or means in a
+world where men, to say nothing of understanding each other, could not
+understand themselves. In the end, he accepted what was not to be
+avoided. He went farther than acquiescence. The growing conviction among
+thoughtful men that Augustus was the hope of Rome found lodgment also in
+his mind. He gravitated from negative to positive. His value as an
+educated man was recognized, and he found himself at twenty-four in
+possession of the always coveted boon of the young Italian, a place in
+the government employ. A clerkship in the treasury gave him salary,
+safety, respectability, a considerable dignity, and a degree of leisure.
+
+Of the leisure he made wise use. Still in the afterglow of his Athenian
+experience, he began to write. He attracted the attention of a limited
+circle of associates. The personal qualities which made him a favorite
+with the leaders of the Republican army again served him well. He won
+the recognition and the favor of men who had the ear of the ruling few.
+In about 33, when he was thirty-two years old, Maecenas, the
+appreciative counsellor, prompted by Augustus, the politic ruler, who
+recognized the value of talent in every field for his plans of
+reconstruction, made him independent of money-getting, and gave him
+currency among the foremost literary men of the city. He triumphed over
+the social prejudice against the son of a freedman, disarmed the
+jealousy of literary rivals, and was assured of fame as well as favor.
+
+Nor was even this the end of Horace's experience with the world of
+action. It may be that his actual participation in affairs did cease
+with Maecenas's gift of the Sabine farm, and it is true that he never
+pretended to live on their own ground the life of the high-born and
+rich, but he nevertheless associated on sympathetic terms with men
+through whom he felt all the activities and ideals of the class most
+representative of the national life, and past experiences and natural
+adaptability enabled him to assimilate their thoughts and emotions.
+
+Thanks to the glowing personal nature of Horace's works, we know who
+many of these friends and patrons were who so enlarged his vision and
+deepened his inspiration. Almost without exception his poems are
+addressed or dedicated to men with whom he was on terms of more than
+ordinary friendship. They were rare men,--fit audience, though few; men
+of experience in affairs at home and in the field, men of natural taste
+and real cultivation, of broad and sane outlook, of warm heart and deep
+sympathies. There was Virgil, whom he calls the half of his own being.
+There was Plotius, and there was Varius, bird of Maeonian song, whom he
+ranks with the singer of the _Aeneid_ himself as the most luminously
+pure of souls on earth. There was Quintilius, whose death was bewailed
+by many good men;--when would incorruptible Faith and Truth find his
+equal? There was Maecenas, well-bred and worldly-wise, the pillar and
+ornament of his fortunes. There was Septimius, the hoped-for companion
+of his mellow old age in the little corner of earth that smiled on him
+beyond all others. There was Iccius, procurator of Agrippa's estates in
+Sicily, sharing Horace's delight in philosophy. There was Agrippa
+himself, son-in-law of Augustus, grave hero of battles and diplomacy.
+There was elderly Trebatius, sometime friend of Cicero and Caesar, with
+dry legal humor early seasoned in the wilds of Gaul. There were Pompeius
+and Corvinus, old-soldier friends with whom he exchanged reminiscences
+of the hard campaign. There was Messalla, a fellow-student at Athens,
+and Pollio, soldier, orator, and poet. There were Julius Florus and
+other members of the ambitious literary cohort in the train of Tiberius.
+There was Aristius Fuscus, the watch of whose wit was ever wound and
+ready to strike. There was Augustus himself, busy administrator of a
+world, who still found time for letters.
+
+It is through the medium of personalities like these that Horace's
+message was delivered to the world of his time and to later generations.
+How far the finished elegance of his expression is due to their
+discriminating taste, and how much of the breadth and sanity of his
+content is due to their vigor of character and cosmopolitan culture, we
+may only conjecture. Literature is not the product of a single
+individual. The responsive and stimulating audience is hardly less
+needful than the poet's inspiration.
+
+Such were the variety and abundance of Horace's experience. It was large
+and human. He had touched life high and low, bond and free, public and
+private, military and civil, provincial and urban, Hellenic, Asiatic,
+and Italian, urban and rustic, ideal and practical, at the cultured
+court and among the ignorant, but not always unwise, common people.
+
+And yet, numbers of men possessed of experience as abundant have died
+without being poets, or even wise men. Their experience was held in
+solution, so to speak, and failed to precipitate. Horace's experience
+did precipitate. Nature gave him the warm and responsive soul by reason
+of which he became a part of all he met. Unlike most of his associates
+among the upper classes to which he rose, his sympathies could include
+the freedman, the peasant, and the common soldier. Unlike most of the
+multitude from which he sprang, he could extend his sympathies to the
+careworn rich and the troubled statesman. He had learned from his own
+lot and from observation that no life was wholly happy, that the cares
+of the so-called fortunate were only different from, not less real than,
+those of the ordinary man, that every human heart had its chamber
+furnished for the entertainment of Black Care, and that the chamber was
+never without its guest.
+
+But not even the precipitate of experience called wisdom will alone make
+the poet. Horace was again endowed by nature with another and rarer and
+equally necessary gift,--the sense of artistic expression. It would be
+waste of time to debate how much he owed to native genius, how much to
+his own laborious patience, and how much to the good fortune of generous
+human contact. He is surely to be classed among examples of what for
+want of a better term we call inspiration. The poet _is_ born. We may
+account for the inspiration of Horace by supposing him of Greek descent
+(as if Italy had never begotten poets of her own), but the mystery
+remains. In the case of any poet, after everything has been said of the
+usual influences, there is always something left to be accounted for
+only on the ground of genius. It was the possession of this that set
+Horace apart from other men of similar experience.
+
+The poet, however, is not the mere accident of birth. Horace is aware of
+a power not himself that makes for poetic righteousness, and realizes
+the mystery of inspiration. The Muse cast upon him at birth her placid
+glance. He expects glory neither on the field nor in the course, but
+looks to song for his triumphs. To Apollo,
+
+  "L_ord of the enchanting shell_,
+  P_arent of sweet and solemn-breathing airs_,"
+
+who can give power of song even unto the mute, he owes all his power and
+all his fame. It is the gift of Heaven that he is pointed out by the
+finger of the passer-by as the minstrel of the Roman lyre, that he
+breathes the divine fire and pleases men. But he is as perfectly
+appreciative of the fact that poets are born and also made, and condemns
+the folly of depending upon inspiration unsupported by effort. He calls
+himself the bee of Matinum, industriously flitting with honeyed thigh
+about the banks of humid Tibur. What nature begins, cultivation must
+develop. Neither training without the rich vein of native endowment, nor
+natural talent without cultivation, will suffice; both must be friendly
+conspirators in the process of forming the poet. Wisdom is the beginning
+and source of writing well. He who would run with success the race that
+is set before him must endure from boyhood the hardships of heat and
+cold, and abstain from women and wine. The gift of God must be made
+perfect by the use of the file, by long waiting, and by conscious
+intellectual discipline.
+
+
+
+3. HORACE THE INTERPRETER
+OF HIS TIMES
+
+HORACE THE DUALITY
+
+Varied as were Horace's experiences, they were mainly of two kinds, and
+there are two Horaces who reflect them. There is a more natural Horace,
+simple and direct, of ordinary Italian manners and ideals, and a less
+natural Horace, finished in the culture of Greece and the
+artificialities of life in the capital. They might be called the
+unconventional and the conventional Horace.
+
+This duality is only the reflection of the two-fold experience of Horace
+as the provincial village boy and as the successful literary man of the
+city. The impressions received from Venusia and its simple population of
+hard-working, plain-speaking folk, from the roaring Aufidus and the
+landscape of Apulia, from the freedman father's common-sense instruction
+as he walked about in affectionate companionship with his son, never
+faded from Horace's mind. The ways of the city were superimposed upon
+the ways of the country, but never displaced nor even covered them. They
+were a garment put on and off, sometimes partly hiding, but never for
+long, the original cloak of simplicity. It is not necessary to think its
+wearer insincere when, constrained by social circumstance, he put it on.
+As in most dualities not consciously assumed, both Horaces were genuine.
+When Davus the slave reproaches his master for longing, while at Rome,
+to be back in the country, and for praising the attractions of the city,
+while in the country, it is not mere discontent or inconsistency in
+Horace which he is attacking. Horace loved both city and country.
+
+And yet, whatever the appeal of the city and its artificialities,
+Horace's real nature called for the country and its simple ways. It is
+the Horace of Venusia and the Sabines who is the more genuine of the
+two. The more formal poems addressed to Augustus and his house-hold
+sometimes sound the note of affectation, but the most exacting critic
+will hesitate to bring a like charge against the odes which celebrate
+the fields and hamlets of Italy and the prowess of her citizen-soldiers
+of time gone by, or against the mellow epistles and lyrics in which the
+poet philosophizes upon the spectacle of human life.
+
+
+_i_. THE INTERPRETER OF ITALIAN
+LANDSCAPE
+
+The real Horace is to be found first of all as the interpreter of the
+beauty and fruitfulness of Italy. It is no land of mere literary
+imagination which he makes us see with such clear-cut distinctness. It
+is not an Italy in Theocritean colors, like the Italy of Virgil's
+_Bucolics_, but the Italy of Horace's own time, the Italy of his own
+birth and experience, and the Italy of today. Horace is not a
+descriptive poet. The reader will look in vain for nature-poems in the
+modern sense. With a word or a phrase only, he flashes upon our vision
+the beautiful, the significant, the permanent in the scenery of Italy.
+The features which he loved best, or which for other reasons caught his
+eye, are those that we still see. There are the oak and the opaque ilex,
+the pine and the poplar, the dark, funereal cypress, the bright flower
+of the too-short-lived rose, and the sweet-scented bed of violets. There
+are the olive groves of Venafrum. Most lovely of sights and most
+beautiful of figures, there is the purple-clustered vine of vari-colored
+autumn wedded to the elm. There is the bachelor plane-tree. There are
+the long-horned, grey-flanked, dark-muzzled, liquid-eyed cattle, grazing
+under the peaceful skies of the Campagna or enjoying in the meadow their
+holiday freedom from the plow; the same cattle that Carducci sings--
+
+  "I_n the grave sweetness of whose tranquil eyes_
+  O_f emerald, broad and still reflected, dwells_
+  A_ll the divine green silence of the plain_."
+
+We are made to see the sterile rust on the corn, and to feel the blazing
+heat of dog-days, when not a breath stirs as the languid shepherd leads
+his flock to the banks of the stream. The sunny pastures of Calabria lie
+spread before us, we see the yellow Tiber at flood, the rushing Anio,
+the deep eddyings of Liris' taciturn stream, the secluded valleys of the
+Apennines, the leaves flying before the wind at the coming of winter,
+the snow-covered uplands of the Alban hills, the mead sparkling with
+hoar-frost at the approach of spring, autumn rearing from the fields her
+head decorous with mellow fruits, and golden abundance pouring forth
+from a full horn her treasures upon the land. It is real Italy which
+Horace cuts on his cameos,--real landscape, real flowers and fruits,
+real men.
+
+  "What joy there is in these songs!"
+
+writes Andrew Lang, in _Letters to Dead Authors_, "what delight of life,
+what an exquisite Hellenic grace of art, what a manly nature to endure,
+what tenderness and constancy of friendship, what a sense of all that is
+fair in the glittering stream, the music of the water-fall, the hum of
+bees, the silvery gray of the olive woods on the hillside! How human are
+all your verses, Horace! What a pleasure is yours in the straining
+poplars, swaying in the wind! What gladness you gain from the white
+crest of Soracte, beheld through the fluttering snowflakes while the
+logs are being piled higher on the hearth!... None of the Latin poets
+your fellows, or none but Virgil, seem to me to have known as well as
+you, Horace, how happy and fortunate a thing it was to be born in Italy.
+You do not say so, like your Virgil, in one splendid passage, numbering
+the glories of the land as a lover might count the perfections of his
+mistress. But the sentiment is ever in your heart, and often on your
+lips. 'Me neither resolute Sparta nor the rich Larissaean plain so
+enraptures as the fane of echoing Albunea, the headlong Anio, the grove
+of Tibur, the orchards watered by the wandering rills.' So a poet should
+speak, and to every singer his own land should be dearest. Beautiful is
+Italy, with the grave and delicate outlines of her sacred hills, her
+dark groves, her little cities perched like eyries on the crags, her
+rivers gliding under ancient walls: beautiful is Italy, her seas and her
+suns."
+
+
+_ii_. THE INTERPRETER OF ITALIAN LIVING
+
+Again, in its visualization of the life of Italy, Horace's art is no
+less clear than in the presentation of her scenery. Where else may be
+seen so many vivid incidental pictures of men at their daily occupations
+of work or play? In _Satire_ and _Epistle_ this is to be expected,
+though there are satirists and writers of letters who never transfer the
+colors of life to their canvas; but the lyrics, too, are kaleidoscopic
+with scenes from the daily round of human life. We are given fleeting
+but vivid glimpses into the career of merchant and sailor. We see the
+sportsman in chase of the boar, the rustic setting snares for the greedy
+thrush, the serenader under the casement, the plowman at his ingleside,
+the anxious mother at the window on the cliff, never taking her eyes
+from the curved shore, the husbandman passing industrious days on his
+own hillside, tilling his own acres with his own oxen, and training the
+vine to the unwedded tree, the young men of the hill-towns carrying
+bundles of fagots along rocky slopes, the rural holiday and its
+festivities, the sun-browned wife making ready the evening meal against
+the coming of the tired peasant. We are shown all the quaint and quiet
+life of the countryside.
+
+The page is often golden with homely precept or tale of the sort which
+for all time has been natural to farmer folk. There is the story of the
+country mouse and the town mouse, the fox and the greedy weasel that ate
+until he could not pass through the crack by which he came, the rustic
+who sat and waited for the river to get by, the horse that called man to
+aid him against the stag, and received the bit forever. The most formal
+and dignified of the _Odes_ are not without the mellow charm of Italian
+landscape and the genial warmth of Italian life. Even in the first six
+_Odes_ of the third book, often called the _Inaugural Odes_, we get such
+glimpses as the vineyard and the hailstorm, the Campus Martius on
+election day, the soldier knowing no fear, cheerful amid hardships under
+the open sky, the restless Adriatic, the Bantine headlands and the
+low-lying Forentum of the poet's infancy, the babe in the wood of
+Voltur, the Latin hill-towns, the craven soldier of Crassus, and the
+stern patriotism of Regulus. Without these the _Inaugurals_ would be but
+barren and cold, to say nothing of the splendid outburst against the
+domestic degradation of the time, so full of color and heat and
+picturesqueness:
+
+  'T_was not the sons of parents such as these_
+  T_hat tinged with Punic blood the rolling seas_,
+  L_aid low the cruel Hannibal, and brought_
+  G_reat Pyrrhus and Antiochus to naught_;
+
+  B_ut the manly brood of rustic soldier folk_,
+  T_aught, when the mother or the father spoke_
+  T_he word austere, obediently to wield_
+  T_he heavy mattock in the Sabine field_,
+
+  O_r cut and bear home fagots from the height_,
+  A_s mountain shadows deepened into night_,
+  A_nd the sun's car, departing down the west_,
+  B_rought to the wearied steer the friendly rest_.
+
+
+_iii_. THE INTERPRETER OF ROMAN RELIGION
+
+Still farther, Horace is an eloquent interpreter of the religion of the
+countryside. He knows, of course, the gods of Greece and the
+East,--Venus of Cythera and Paphos, of Eryx and Cnidus, Mercury, deity
+of gain and benefactor of men, Diana, Lady of the mountain and the
+glade, Delian Apollo, who bathes his unbound locks in the pure waters of
+Castalia, and Juno, sister and consort of fulminating Jove. He is
+impressed by the glittering pomp of religious processions winding their
+way to the summit of the Capitol. In all this, and even in the
+emperor-worship, now in its first stages at Rome and more political than
+religious, he acquiesces, though he may himself be a sparing frequenter
+of the abodes of worship. For him, as for Cicero, religion is one of the
+social and civic proprieties, a necessary part of the national
+mechanism.
+
+But the great Olympic deities do not really stir Horace's enthusiasm, or
+even evoke his warm sympathy. The only _Ode_ in which he prays to one of
+them with really fervent heart stands alone among all the odes to the
+national gods. He petitions the great deity of healing and poetry for
+what we know is most precious to him:
+
+  "W_hen, kneeling at Apollo's shrine_,
+    T_he bard from silver goblet pours_
+  L_ibations due of votive wine_,
+    W_hat seeks he, what implores_?
+
+  "N_ot harvests from Sardinia's shore_;
+    N_ot grateful herds that crop the lea_
+  I_n hot Calabria; not a store_
+    O_f gold, and ivory_;
+
+  "N_ot those fair lands where slow and deep_
+    T_hro' meadows rich and pastures gay_
+  T_hy silent waters, Liris, creep_,
+    E_ating the marge away_.
+
+  "L_et him to whom the gods award_
+    C_alenian vineyards prune the vine_;
+  T_he merchant sell his balms and nard_,
+    A_nd drain the precious wine_
+
+  "F_rom cups of gold--to Fortune dear_
+    B_ecause his laden argosy_
+  C_rosses, unshattered, thrice a year_
+    T_he storm-vexed Midland sea_.
+
+  "R_ipe berries from the olive bough_,
+    M_allows and endives, be my fare_.
+  S_on of Latona, hear my vow!_
+    A_pollo, grant my prayer!_
+
+  "H_ealth to enjoy the blessings sent_
+    F_rom heaven; a mind unclouded, strong_;
+  A_ cheerful heart; a wise content_;
+    A_n honored age; and song_."
+
+This is not the prayer of the city-bred formalist. It reflects the heart
+of humble breeding and sympathies. For the faith which really sets the
+poet aglow we must go into the fields and hamlets of Italy, among the
+householders who were the descendants of the long line of Italian
+forefathers that had worshiped from time immemorial the same gods at the
+same altars in the same way. They were not the gods of yesterday,
+imported from Greece and Egypt, and splendid with display, but the
+simple gods of farm and fold native to the soil of Italy. Whatever his
+conception of the logic of it all, Horace felt a powerful appeal as he
+contemplated the picturesqueness of the worship and the simplicity of
+the worshiper, and reflected upon its genuineness and purity as
+contrasted with what his worldly wisdom told him of the heart of the
+urban worshiper.
+
+Horace may entertain a well-bred skepticism of Jupiter's thunderbolt,
+and he may pass the jest on the indifference of the Epicurean gods to
+the affairs of men. When he does so, it is with the gods of mythology
+and literature he is dealing, not with really religious gods. For the
+old-fashioned faith of the country he entertains only the kindliest
+regard. The images that rise in his mind at the mention of religion pure
+and undefiled are not the gaudy spectacles to be seen in the marbled
+streets of the capital. They are images of incense rising in autumn from
+the ancient altar on the home-stead, of the feast of the Terminalia with
+its slain lamb, of libations of ruddy wine and offerings of bright
+flowers on the clear waters of some ancestral spring, of the simple
+hearth of the farmhouse, of the family table resplendent with the silver
+_salinum_, heirloom of generations, from which the grave paterfamilias
+makes the pious offering of crackling salt and meal to little gods
+crowned with rosemary and myrtle, of the altar beneath the pine to the
+Virgin goddess, of Faunus the shepherd-god, in the humor of wooing,
+roaming the sunny farmfields in quest of retreating wood-nymphs, of
+Priapus the garden-god, and Silvanus, guardian of boundaries, and, most
+of all, and typifying all, of the faith of rustic Phidyle, with clean
+hands and a pure heart raising palms to heaven at the new of the moon,
+and praying for the full-hanging vine, thrifty fields of corn, and
+unblemished lambs. Of the religious life represented by these, Horace is
+no more tempted to make light than he is tempted to delineate the
+Italian rustic as De Maupassant does the French,--as an amusing animal,
+with just enough of the human in his composition to make him ludicrous.
+
+
+_iv_. THE INTERPRETER OF THE POPULAR
+WISDOM
+
+Finally, in the homely, unconventional wisdom which fills _Satire_ and
+_Epistle_ and sparkles from the _Odes_, Horace is again the national
+interpreter. The masses of Rome or Italy had little consciously to do
+with either Stoicism or Epicureanism. Their philosophy was vigorous
+common sense, and was learned from living, not from conning books.
+Horace, too, for all his having been a student of formal philosophy in
+Athens, for all his professed faith in philosophy as a boon for rich and
+poor and old and young, and for all his inclination to yield to the
+natural human impulse toward system and adopt the philosophy of one of
+the Schools, is a consistent follower of neither Stoic nor Epicurean.
+Both systems attracted him by their virtues, and both repelled him
+because of their weaknesses. His half-humorous confession of wavering
+allegiance is only a reflection of the shiftings of a mind open to the
+appeal of both:
+
+And, lest you inquire under what guide or to what hearth I look for
+safety, I will tell you that I am sworn to obedience in no master's
+formula, but am a guest in whatever haven the tempest sweeps me to. Now
+I am full of action and deep in the waves of civic life, an unswerving
+follower and guardian of the true virtue, now I secretly backslide to
+the precepts of Aristippus, and try to bend circumstance to myself, not
+myself to circumstance.
+
+Horace is either Stoic or Epicurean, or neither, or both. The character
+of philosophy depends upon definition of terms, and Epicureanism with
+Horace's definitions of pleasure and duty differed little in practical
+working from Stoicism. In profession, he was more of the Epicurean; in
+practice, more of the Stoic. His philosophy occupies ground between
+both, or, rather, ground common to both. It admits of no name. It is not
+a system. It owes its resemblances to either of the Schools more to his
+own nature than to his familiarity with them, great as that was.
+
+The foundations of Horace's philosophy were laid before he ever heard of
+the Schools. Its basis was a habit of mind acquired by association with
+his father and the people of Venusia, and with the ordinary people of
+Rome. Under the influence of reading, study, and social converse at
+Athens, under the stress of experience in the field, and from long
+contemplation of life in the large in the capital of an empire, it
+crystallized into a philosophy of life. The term "philosophy" is
+misleading in Horace's case. It suggests books and formulae and
+externals. What Horace read in books did not all remain for him the dead
+philosophy of ink and paper; what was in tune with his nature he
+assimilated, to become philosophy in action, philosophy which really was
+the guide of life. His faith in it is unfeigned:
+
+Thus does the time move slowly and ungraciously which hinders me from
+the active realization of what, neglected, is a harm to young and old
+alike.... The envious man, the ill-tempered, the indolent, the
+wine-bibber, the too free lover,--no mortal, in short, is so crude that
+his nature cannot be made more gentle if only he will lend a willing ear
+to cultivation.
+
+The occasional phraseology of the Schools which Horace employs should
+not mislead. It is for the most part the convenient dress for truth
+discovered for himself through experience; or it may be literary
+ornament. The humorous and not unsatiric lines to his poet-friend Albius
+Tibullus,--"when you want a good laugh, come and see me; you will find
+me fat and sleek and my skin well cared for, a pig from the sty of
+Epicurus,"--are as easily the jest of a Stoic as the confession of an
+Epicurean. Horace's philosophy is individual and natural, and
+representative of Roman common sense rather than any School.
+
+
+HORACE AND HELLENISM
+
+A word should be said here regarding the frequent use of the word
+"Hellenic" in connection with Horace's genius. Among the results of his
+higher education, it is natural that none should be more prominent to
+the eye than the influence of Greek letters upon his work; but to call
+Horace Greek is to be blinded to the essential by the presence in his
+poems of Greek form and Greek allusion. It would be as little reasonable
+to call a Roman triumphal arch Greek because it displays column,
+architrave, or a facing of marble from Greece. What makes Roman
+architecture stand is not ornament, but Roman concrete and the Roman
+vault. Horace is Greek as Milton is Hebraic or Roman, or as Shakespeare
+is Italian.
+
+
+
+4. HORACE THE PHILOSOPHER OF LIFE
+
+HORACE THE SPECTATOR AND ESSAYIST
+
+A great source of the richness of personality which constitutes Horace's
+principal charm is to be found in his contemplative disposition. His
+attitude toward the universal drama is that of the onlooker. As we shall
+see, he is not without keen interest in the piece, but his prevailing
+mood is that of mild amusement. In time past, he has himself assumed
+more than one of the roles, and has known personally many of the actors.
+He knows perfectly well that there is a great deal of the mask and
+buskin on the stage of life, and that each man in his time plays many
+parts. Experience has begotten reflection, and reflection has
+contributed in turn to experience, until contemplation has passed from
+diversion to habit.
+
+Horace is another Spectator, except that his "meddling with any
+practical part in life" has not been so slight:
+
+Thus I live in the world rather as a Spectator of mankind than as one of
+the species, by which means I have made myself a speculative statesman,
+soldier, merchant, and artisan, without ever meddling with any practical
+part in life. I am very well versed in the theory of a husband, or a
+father, and can discern the errors in the economy, business, and
+diversion of others, better than those who are engaged in them: as
+standers-by discover blots which are apt to escape those who are in the
+game.
+
+He looks down from his post upon the life of men with as clear vision as
+Lucretius, whom he admires:
+
+Nothing is sweeter than to dwell in the lofty citadels secure in the
+wisdom of the sages, thence to look down upon the rest of mankind
+blindly wandering in mistaken paths in the search for the way of life,
+striving one with another in the contest of wits, emulous in distinction
+of birth, night and day straining with supreme effort at length to
+arrive at the heights of power and become lords of the world.
+
+Farther, Horace is not merely the stander-by contemplating the game in
+which objective mankind is engaged. He is also a spectator of himself.
+Horace the poet-philosopher contemplates Horace the man with the same
+quiet amusement with which he surveys the human family of which he is an
+inseparable yet detachable part. It is the universal aspect of Horace
+which is the object of his contemplation,--Horace playing a part
+together with the rest of mankind in the infinitely diverting _comedie
+humaine_. He uses himself, so to speak, for illustrative purposes,--to
+point the moral of the genuine; to demonstrate the indispensability of
+hard work as well as genius; to afford concrete proof of the possibility
+of happiness without wealth. He is almost as objective to himself as the
+landscape of the Sabine farm. Horace the spectator sees Horace the man
+against the background of human life just as he sees snow-mantled
+Soracte, or the cold Digentia, or the restless Adriatic, or leafy
+Tarentum, or snowy Algidus, or green Venafrum. The clear-cut elegance of
+his miniatures of Italian scenery is not due to their individual
+interest, but to their connection with the universal life of man.
+Description for its own sake is hardly to be found in Horace. In the
+same way, the vivid glimpses he affords of his own life, person, and
+character almost never prompt the thought of egotism. The most personal
+of poets, his expression of self nowhere becomes selfish expression.
+
+But there are spectators who are mere spectators. Horace is more; he is
+a critic and an interpreter. He looks forth upon life with a keen vision
+for comparative values, and gives sane and distinct expression to what
+he sees.
+
+Horace must not be thought of, however, as a censorious or carping
+critic. His attitude is judicial, and the verdict is seldom other than
+lenient and kindly. He is not a wasp of Twickenham, not a Juvenal
+furiously laying about him with a heavy lash, not a Lucilius with the
+axes of Scipionic patrons to grind, having at the leaders of the people
+and the people themselves. He is in as little degree an Ennius,
+composing merely to gratify the taste for entertainment. There are some,
+as a matter of fact, to whom in satire he seems to go beyond the limit
+of good-nature. At vice in pronounced form, at all forms of unmanliness,
+he does indeed strike out, like Lucilius the knight of Campania, his
+predecessor and pattern, gracious only to virtue and to the friends of
+virtue; but those whose hands are clean and whose hearts are pure need
+fear nothing. Even those who are guilty of the ordinary frailties of
+human kind need fear nothing worse than being good-humoredly laughed at.
+The objects of Horace's smiling condemnation are not the trifling faults
+of the individual or the class, but the universal grosser stupidities
+which poison the sources of life.
+
+The Horace of the _Satires_ and _Epistles_ is better called an essayist.
+That he is a satirist at all is less by virtue of intention than because
+of the mere fact that he is a spectator. To look upon life with the eye
+of understanding is to see men the prey to passions and delusions,--the
+very comment on which can be nothing else than satire.
+
+And now, what is it that Horace sees as he sits in philosophic
+detachment on the serene heights of contemplation; and what are his
+reflections?
+
+The great factor in the character of Horace is his philosophy of life.
+To define it is to give the meaning of the word Horatian as far as
+content is concerned, and to trace the thread which more than any other
+makes his works a unity.
+
+
+_i_. THE VANITY OF HUMAN WISHES
+
+Horace looks forth upon a world of discontented and restless humanity.
+The soldier, the lawyer, the farmer, the trader, swept over the earth in
+the passion for gain, like dust in the whirlwind,--all are dissatisfied.
+Choose anyone you will from the midst of the throng; either with greed
+for money or with miserable ambition for power, his soul is in travail.
+Some are dazzled by fine silver, some lose their senses over bronze.
+Some are ever straining after the prizes of public life. There are many
+who love not wisely, but too well. Most are engaged in a mad race for
+money, whether to assure themselves of retirement and ease in old age,
+or out of the sportsman's desire to outstrip their rivals in the course.
+As many as are mortal men, so many are the objects of their pursuit.
+
+And, over and about all men, by reason of their bondage to avarice,
+ambition, appetite, and passion, hovers Black Care. It flits above their
+sleepless eyes in the panelled ceiling of the darkened palace, it sits
+behind them on the courser as they rush into battle, it dogs them as
+they are at the pleasures of the bronze-trimmed yacht. It pursues them
+everywhere, swifter than the deer, swifter than the wind that drives
+before it the storm-cloud. Not even those who are most happy are
+entirely so. No lot is wholly blest. Perfect happiness is unattainable.
+Tithonus, with the gift of ever-lasting life, wasted away in undying old
+age. Achilles, with every charm of youthful strength and gallantry, was
+doomed to early death. Not even the richest are content. Something is
+always lacking in the midst of abundance, and desire more than keeps
+pace with satisfaction.
+
+Nor are the multitude less enslaved to their desires than the few. Glory
+drags bound to her glittering chariot-wheels the nameless as well as the
+nobly-born. The poor are as inconstant as the rich. What of the man who
+is not rich? You may well smile. He changes from garret to garret, from
+bed to bed, from bath to bath and barber to barber, and is just as
+seasick in a hired boat as the wealthy man on board his private yacht.
+
+And not only are all men the victims of insatiable desire, but all are
+alike subject to the uncertainties of fate. Insolent Fortune without
+notice flutters her swift wings and leaves them. Friends prove
+faithless, once the cask is drained to the lees. Death, unforeseen and
+unexpected, lurks in ambush for them in a thousand places. Some are
+swallowed up by the greedy sea. Some the Furies give to destruction in
+the grim spectacle of war. Without respect of age or person, the ways of
+death are thronged with young and old. Cruel Proserpina passes no man
+by.
+
+Even they who for the time escape the object of their dread must at last
+face the inevitable. Invoked or not invoked, Death comes to release the
+lowly from toil, and to strip the proud of power. The same night awaits
+all; everyone must tread once for all the path of death. The summons is
+delivered impartially at the hovels of the poor and the turreted palaces
+of the rich. The dark stream must be crossed by prince and peasant
+alike. Eternal exile is the lot of all, whether nameless and poor, or
+sprung of the line of Inachus:
+
+  A_las! my Postumus, alas! how speed_
+  T_he passing years: nor can devotion's deed_
+  S_tay wrinkled age one moment on its way_,
+  N_or stay one moment death's appointed day_;
+
+  N_ot though with thrice a hundred oxen slain_
+  E_ach day thou prayest Pluto to refrain_,
+  T_he unmoved by tears, who threefold Geryon drave_,
+  A_nd Tityus, beneath the darkening wave_.
+
+  T_he wave we all must one day surely sail_
+  W_ho live and breathe within this mortal vale_,
+  W_hether our lot with princely rich to fare_,
+  W_hether the peasant's lowly life to share_.
+
+  I_n vain for us from murderous Mars to flee_,
+  I_n vain to shun the storms of Hadria's sea_,
+  I_n vain to fear the poison-laden breath_
+  O_f Autumn's sultry south-wind, fraught with death_;
+
+  A_down the wandering stream we all must go_,
+  A_down Cocytus' waters, black and slow_;
+  T_he ill-famed race of Danaus all must see_,
+  A_nd Sisyphus, from labors never free_.
+
+  A_ll must be left,--lands, home, beloved wife_,--
+  A_ll left behind when we have done with life_;
+  O_ne tree alone, of all thou holdest dear_,
+  S_hall follow thee,--the cypress, o'er thy bier!_
+
+  T_hy wiser heir will soon drain to their lees_
+  T_he casks now kept beneath a hundred keys_;
+  T_he proud old Caecuban will stain the floor_,
+  M_ore fit at pontiffs' solemn feasts to pour_.
+
+Nor is there a beyond filled with brightness for the victim of fate to
+look to. Orcus is unpitying. Mercury's flock of souls is of sable hue,
+and Proserpina's realm is the hue of the dusk. Black Care clings to poor
+souls even beyond the grave. Dull and persistent, it is the only
+substantial feature of the insubstantial world of shades. Sappho still
+sighs there for love of her maiden companions, the plectrum of Alcaeus
+sounds its chords only to songs of earthly hardships by land and sea,
+Prometheus and Tantalus find no surcease from the pangs of torture,
+Sisyphus ever rolls the returning stone, and the Danaids fill the
+ever-emptying jars.
+
+
+_ii_. THE PLEASURES OF THIS WORLD
+
+The picture is dark with shadow, and must be relieved with light and
+color. The hasty conclusion should not be drawn that this is the
+philosophy of gloom. The tone of Horace is neither that of the cheerless
+skeptic nor that of the despairing pessimist. He does not rise from his
+contemplation with the words or the feeling of Lucretius:
+
+O miserable minds of men, O blind hearts! In what obscurity and in what
+dangers is passed this uncertain little existence of yours!
+
+He would have agreed with the philosophy of pessimism that life contains
+striving and pain, but he would not have shared in the gloom of a
+Schopenhauer, who in all will sees action, in all action want, in all
+want pain, who looks upon pain as the essential condition of will, and
+sees no end of suffering except in the surrender of the will to live.
+The vanity of human wishes is no secret to Horace, but life is not to
+him "a soap-bubble which we blow out as long and as large as possible,
+though each of us knows perfectly well it must sooner or later burst."
+
+No, life may have its inevitable pains and its inevitable end, but it is
+far more substantial in composition than a bubble. For those who possess
+the secret of detecting and enjoying them, it contains solid goods in
+abundance.
+
+What is the secret?
+
+The first step toward enjoyment of the human lot is acquiescence. Of
+course existence has its evils and bitter end, but these are minimized
+for the man who frankly faces them, and recognizes the futility of
+struggling against the fact. How much better to endure whatever our lot
+shall impose. Quintilius is dead: it is hard; but patience makes lighter
+the ill that fate will not suffer us to correct.
+
+And then, when we have once yielded, and have ceased to look upon
+perfect happiness as a possibility, or upon any measure of happiness as
+a right to be demanded, we are in position to take the second step;
+namely, to make wise use of life's advantages:
+
+  M_id all thy hopes and all thy cares, mid all thy wraths and fears_,
+  T_hink every shining day that dawns the period to thy years_.
+  T_he hour that comes unlooked for is the hour that doubly cheers_.
+
+Because there are many things to make life a pleasure. There is the
+solace of literature; Black Care is lessened by song. There are the
+riches of philosophy, there is the diversion of moving among men. There
+are the delights of the country and the town. Above all, there are
+friends with whom to share the joy of mere living in Italy. For what
+purpose, if not to enjoy, are the rose, the pine, and the poplar, the
+gushing fountain, the generous wine of Formian hill and Massic slope,
+the villa by the Tiber, the peaceful and healthful seclusion of the
+Sabines, the pleasing change from the sharp winter to the soft zephyrs
+of spring, the apple-bearing autumn,--"season of mists and mellow
+fruitfulness"? What need to be unhappy in the midst of such a world?
+
+And the man who is wise will not only recognize the abounding
+possibilities about him, but will seize upon them before they vanish.
+Who knows whether the gods above will add a tomorrow to the to-day? Be
+glad, and lay hand upon the gifts of the passing hour! Take advantage of
+the day, and have no silly faith in the morrow. It is as if Omar were
+translating Horace:
+
+
+  "W_aste not your Hour, nor in the vain pursuit_
+  0_f This and That endeavor and dispute;_
+    B_etter be jocund with the fruitful Grape_
+  T_han sadden after none, or bitter, Fruit._
+
+  "A_h! fill the Cup: what boots it to repeat_
+  H_ow Time is slipping underneath our Feet:_
+    U_nborn tomorrow, and dead yesterday,_
+  W_hy fret about them if today be sweet!"_
+
+The goods of existence must be enjoyed here and now, or never, for all
+must be left behind. What once is enjoyed is forever our very own. Happy
+is the man who can say, at each day's close, "I have lived!" The day is
+his, and cannot be recalled. Let Jove overcast with black cloud the
+heavens of to-morrow, or let him make it bright with clear sunshine,--as
+he pleases; what the flying hour of to-day has already given us he never
+can revoke. Life is a stream, now gliding peacefully onward in
+mid-channel to the Tuscan sea, now tumbling upon its swirling bosom the
+wreckage of flood and storm. The pitiful human being on its banks, ever
+looking with greedy expectation up the stream, or with vain regret at
+what is past, is left at last with nothing at all. The part of wisdom
+and of happiness is to keep eyes on that part of the stream directly
+before us, the only part which is ever really seen.
+
+  Y_ou see how, deep with gleaming snow,_
+  S_oracte stands, and, bending low,_
+    Y_on branches droop beneath their burden,_
+      A_nd streams o'erfrozen have ceased their flow._
+
+  A_way with cold! the hearth pile high_
+  W_ith blazing logs; the goblet ply_
+    W_ith cheering Sabine, Thaliarchus;_
+      D_raw from the cask of long years gone by._
+
+  A_ll else the gods entrust to keep,_
+  W_hose nod can lull the winds to sleep,_
+    V_exing the ash and cypress aged,_
+      O_r battling over the boiling deep._
+
+  S_eek not to pierce the morrow's haze,_
+  B_ut for the moment render praise;_
+    N_or spurn the dance, nor love's sweet passion,_
+      E_re age draws on with its joyless days._
+
+  N_ow should the campus be your joy,_
+  A_nd whispered loves your lips employ,_
+    W_hat time the twilight shadows gather,_
+      A_nd tryst you keep with the maiden coy._
+
+  F_rom near-by nook her laugh makes plain_
+  W_here she had meant to hide, in vain!_
+    H_ow arch her struggles o'er the token_
+      F_rom yielding which she can scarce refrain!_
+
+
+_iii_. LIFE AND MORALITY
+
+But Horace's Epicureanism never goes to the length of Omar's. He would
+have shrunk from the Persian as extreme:
+
+  "YESTERDAY _This Day's Madness did prepare_,
+  TOMORROW'S _Silence, Triumph, or Despair_,
+    _Drink! for you know not whence you came, nor why_:
+  D_rink! for you know not why you go, nor where_."
+
+The Epicureanism of Horace is more nearly that of Epicurus himself, the
+saintly recluse who taught that "to whom little is not enough, nothing
+is enough," and who regarded plain living as at the same time a duty and
+a happiness. The lives of too liberal disciples have been a slander on
+the name of Epicurus. Horace is not among them. With degenerate
+Epicureans, whose philosophy permitted them "To roll with pleasure in a
+sensual sty," he had little in common. The extraction from life of the
+honey of enjoyment was indeed the highest purpose, but the purpose could
+never be realized without the exercise of discrimination, moderation,
+and a measure of spiritual culture. Life was an art, symmetrical,
+unified, reposeful,--like the poem of perfect art, or the statue, or
+the temple. In actual conduct, the hedonist of the better type differed
+little from the Stoic himself.
+
+The gracious touch and quiet humor with which Horace treats even the
+most serious themes are often misleading. This effect is the more
+possible by reason of the presence among his works of passages, not many
+and for the most part youthful, in which he is guilty of too great
+freedom.
+
+Horace is really a serious person. He is even something of a preacher, a
+praiser of the time when he was a boy, a censor and corrector of his
+youngers. So far as popular definitions of Stoic and Epicurean are
+concerned, he is much more the former than the latter.
+
+For Horace's counsel is always for moderation, and sometimes for
+austerity. He is not a wine-bibber, and he is not a total abstainer. To
+be the latter on principle would never have occurred to him. The vine
+was the gift of God. Prefer nothing to it for planting in the mellow
+soil of Tibur, Varus; it is one of the compensations of life:
+
+  "I_ts magic power of wit can spread_
+  T_he halo round a dullard's head_,
+  C_an make the sage forget his care_,
+  H_is bosom's inmost thoughts unbare_,
+  A_nd drown his solemn-faced pretense_
+  B_eneath its blithesome influence_.
+  B_right hope it brings and vigor back_
+  T_o minds outworn upon the rack_,
+  A_nd puts such courage in the brain_
+  A_s makes the poor be men again_,
+  W_hom neither tyrants' wrath affrights_,
+  N_or all their bristling satellites_."
+
+When wine is a curse, it is not so because of itself, but because of
+excess in its use. The cup was made for purposes of pleasure, but to
+quarrel over it,--leave that to barbarians! Take warning by the
+Thracians, and the Centaurs and Lapiths, never to overstep the bounds of
+moderation. Pleasure with after-taste of bitterness is not real
+pleasure. Pleasure purchased with pain is an evil.
+
+Upon women he looks with the same philosophic calm as upon wine. Love,
+too, was to be regarded as one of the contributions to life's pleasure.
+To dally with golden-haired Pyrrha, with Lyce, or with Glycera, the
+beauty more brilliant than Parian marble, was not in his eyes to be
+blamed in itself. What he felt no hesitation in committing to his poems
+for friends and the Emperor to read, they on their part felt as little
+hesitation in confessing to him. The fault of love lay not in itself,
+but in abuse. This is not said of adultery, which was always an offense
+because it disturbed the institution of marriage and rotted the
+foundation of society.
+
+There is thus no inconsistency in the Horace of the love poems and the
+Horace of the _Secular Hymn_ who petitions Our Lady Juno to prosper the
+decrees of the Senate encouraging the marriage relation and the rearing
+of families. Of the illicit love that looked to Roman women in the home,
+he emphatically declares his innocence, and against it directs the last
+and most powerful of the six _Inaugural Odes_; for this touched the
+family, and, through the family, the State. This, with neglect of
+religion, he classes together as the two great causes of national decay.
+
+Horace is not an Ovid, with no sense of the limits of either indulgence
+or expression. He is not a Catullus, tormented by the furies of youthful
+passion. The flame never really burned him. We search his pages in vain
+for evidence of sincere and absorbing passion, whether of the flesh or
+of the spirit. He was guilty of no breach of the morals of his time, and
+it is likely also, in spite of Suetonius, that he was guilty of no
+excess. He was a supporter in good faith of the Emperor in his attempts
+at the moral improvement of the State. If Virgil in the writing of the
+_Georgics_ or the _Aeneid_ was conscious of a purpose to second the
+project of Augustus, it is just as likely that his intimate friend
+Horace also wrote with conscious moral intent. Nothing is more in
+keeping with his conception of the end and effect of literature:
+
+It shapes the tender and hesitating speech of the child; it straight
+removes his ear from shameless communication; presently with friendly
+precepts it moulds his inner self; it is a corrector of harshness and
+envy and anger; it sets forth the righteous deed; it instructs the
+rising generations with the familiar example; it is a solace to the
+helpless and the sick at heart.
+
+
+_iv_. LIFE AND PURPOSE
+
+Horace's philosophy of life is thus based upon something deeper than the
+principle of seizing upon pleasure. His definition of pleasure is not
+without austerity; he preaches the positive virtues of performance as
+well as the negative virtue of moderation. He could be an unswerving
+follower and guardian of true virtue, and could bend self to
+circumstance.
+
+He stands for domestic purity, and for patriotic devotion. _Dulce et
+decorum est pro patria mori_,--to die for country is a privilege and a
+glory. His hero is Regulus, returning steadfastly through the ranks of
+protesting friends to keep faith with the pitiless executioners of
+Carthage. Regulus, and the Scauri, and Paulus, who poured out his great
+spirit on the disastrous field of Cannae, and Fabricius, of simple heart
+and absolute integrity, he holds up as examples to his generation. In
+praise of the sturdy Roman qualities of courage and steadfastness he
+writes his most inspired lines:
+
+The righteous man of unswerving purpose is shaken in his solid will
+neither by the unworthy demands of inflamed citizens, nor by the
+frowning face of the threatening tyrant, nor by the East-wind, turbid
+ruler of the restless Adriatic, nor by the great hand of fulminating
+Jove himself. If the heavens should fall asunder, the crashing fragments
+would descend upon him unterrified.
+
+He preaches the gospel of faithfulness not only to family, country, and
+purpose, but to religion. He will shun the man who violates the secrets
+of the mysteries. The curse of the gods is upon all such, and pursues
+them to the day of doom.
+
+Faithfulness to friendship stands out with no less distinctness. While
+Horace is in his right mind, he will value nothing so highly as a
+delightful friend. He is ready, whenever fate calls, to enter with
+Maecenas even upon the last journey. Among the blest is he who is
+unafraid to die for dear friends or native land.
+
+Honor, too,--the fine spirit of old Roman times, that refused bribes,
+that would not take advantage of an enemy's weakness, that asked no
+questions save the question of what was right, that never turned its
+back upon duty, that swore to its own hurt and changed not; the same
+lofty spirit the recording of whose manifestations never fails to bring
+the glow to Livy's cheek and the gleam to his eye,--honor is also first
+and foremost in Horace's esteem. Regulus, the self-sacrificing; Curius,
+despising the Samnite gold; Camillus, yielding private grievance to come
+to his country's aid; Cato, dying for his convictions after Thapsus, are
+his inspirations. The hero of his ideal fears disgrace worse than death.
+The diadem and the laurel are for him only who can pass on without the
+backward glance upon stores of treasure.
+
+Finally, not least among the qualities which enter into the ideal of
+Horace is the simplicity of the olden time, when the armies of Rome were
+made up of citizen-soldiers, and the eye of every Roman was single to
+the glory of the State, and the selfishness of luxury was yet unknown.
+
+  S_cant were their private means, the public, great_;
+     'T_was still a commonwealth, that State_;
+  N_o portico, surveyed with private rule_,
+     A_ssured one man the shady cool_.
+
+  T_he laws approved the house of humble sods_;
+     'T_was only to the homes of gods_,
+  T_he structures reared with earnings of the nation_,
+     T_hey gave rich marble decoration_.
+
+The healthful repose of heart which comes from unity of purpose and
+simple devotion to plain duty, he sees existing still, even in his own
+less strenuous age, in the remote and peaceful countryside. Blessed is
+the man far from the busy life of affairs, like the primeval race of
+mortals, who tills with his own oxen the acres of his fathers! Horace
+covets the gift earnestly for himself, because his calm vision assures
+him that it, of all the virtues, lies next to happy living.
+
+
+_v_. THE SOURCES OF HAPPINESS
+
+Here we have arrived at the kernel of Horace's philosophy, the key which
+unlocks the casket containing his message to all men of every
+generation. In actual life, at least, mankind storms the citadel of
+happiness, as if it were something material and external, to be taken by
+violent hands. Horace locates the citadels of happiness in his own
+breast. It is the heart which is the source of all joy and all sorrow,
+of all wealth and all poverty. Happiness is to be sought, not outside,
+but within. Man does not create his world; he _is_ his world.
+
+Men are madly chasing after peace of heart in a thousand wrong ways, all
+the while over-looking the right way, which is nearest at hand. To
+observe their feverish eagerness, the spectator might be led to think
+happiness identical with possession. And yet wealth and happiness are
+neither the same nor equivalent. They may have nothing to do one with
+the other. Money, indeed, is not an evil in itself, but it is not
+essential except so far as it is a mere means of life. Poor men may be
+happy, and the wealthy may be poor in the midst of their riches. A man's
+wealth consisteth not in the abundance of the things he possesseth. More
+justly does he lay claim to the name of rich man who knows how to use
+the blessings of the gods wisely, who is bred to endurance of hard want,
+and who fears the disgraceful action worse than he fears death.
+
+Real happiness consists in peace of mind and heart. Everyone desires it,
+and everyone prays for it,--the sailor caught in the storms of the
+Aegean, the mad Thracian, the Mede with quiver at his back. But peace is
+not to be purchased. Neither gems nor purple nor gold will buy it, nor
+favor. Not all the externals in the world can help the man who depends
+upon them alone.
+
+  N_ot treasure trove nor consul's stately train_
+  D_rives wretched tumult from the troubled brain_;
+  S_warming with cares that draw unceasing sighs_,
+  T_he fretted ceiling hangs o'er sleepless eyes_.
+
+Nor is peace to be pursued and laid hold of, or discovered in some other
+clime. Of what avail to fly to lands warmed by other suns? What exile
+ever escaped himself? It is the soul that is at fault, that never can be
+freed from its own bonds. The sky is all he changes:
+
+  T_he heavens, not themselves, they change_
+    W_ho haste to cross the seas_.
+
+The happiness men seek for is in themselves, to be found at little
+Ulubrae in the Latin marshes as easily as in great cities, if only they
+have the proper attitude of mind and heart.
+
+But how insure this peace of mind?
+
+At the very beginning, and through to the end, the searcher after
+happiness must recognize that unhappiness is the result of slavery of
+some sort, and that slavery in turn is begotten of desire. The man who
+is overfond of anything will be unwilling to let go his hold upon it.
+Desire will curb his freedom. The only safety lies in refusing the rein
+to passion of any kind. "To gaze upon nothing to lust after it,
+Numicius, is the simple way of winning and of keeping happiness." He who
+lives in either desire or fear can never enjoy his possessions. He who
+desires will also fear; and he who fears can never be a free man. The
+wise man will not allow his desires to become tyrants over him. Money
+will be his servant, not his master. He will attain to wealth by curbing
+his wants. You will be monarch over broader realms by dominating your
+spirit than by adding Libya to far-off Gades.
+
+The poor man, in spite of poverty, may enjoy life more than the rich. It
+is possible under a humble roof to excel in happiness kings and the
+friends of kings. Wealth depends upon what men want, not upon what men
+have. The more a man denies himself, the greater are the gifts of the
+gods to him. One may hold riches in contempt, and thus be a more
+splendid lord of wealth than the great landowner of Apulia. By
+contracting his desires he may extend his revenues until they are more
+than those of the gorgeous East. Many wants attend those who have many
+ambitions. Happy is the man to whom God has given barely enough. Let him
+to whom fate, fortune, or his own effort has given this enough, desire
+no more. If the liquid stream of Fortune should gild him, it would make
+his happiness nothing greater, because money cannot change his nature.
+To the man who has good digestion and good lungs and is free from gout,
+the riches of a king could add nothing. What difference does it make to
+him who lives within the limits of nature whether he plow a hundred
+acres or a thousand?
+
+As with the passion of greed, so with anger, love, ambition for power,
+and all the other forms of desire which lodge in the human heart. Make
+them your slaves, or they will make you theirs. Like wrath, they are all
+forms of madness. The man who becomes avaricious has thrown away the
+armor of life, has abandoned the post of virtue. Once let a man submit
+to desire of an unworthy kind, and he will find himself in the case of
+the horse that called a rider to help him drive the stag from their
+common feeding-ground, and received the bit and rein forever.
+
+So Horace will enter into no entangling alliances with ambition for
+power, wealth, or position, or with the more personal passions. By some
+of them he has not been altogether untouched, and he has not regret; but
+to continue, at forty-five, would not do. He will be content with just
+his home in the Sabine hills. This is what he always prayed for, a patch
+of ground, not so very large, with a spring of ever-flowing water, a
+garden, and a little timberland. He asks for nothing more, except that a
+kindly fate will make these beloved possessions forever his own. He will
+go to the ant, for she is an example, and consider her ways and be wise,
+and be content with what he has as soon as it is enough. He will not
+enter the field of public life, because it would mean the sacrifice of
+peace. He would have to keep open house, submit to the attentions of a
+body-guard of servants, keep horses and carriage and a coachman, and be
+the target for shafts of envy and malice; in a word, lose his freedom
+and become the slave of wretched and burdensome ambition.
+
+The price is too great, the privilege not to his liking. Horace's prayer
+is rather to be freed from the cares of empty ambition, from the fear of
+death and the passion of anger, to laugh at superstition, to enjoy the
+happy return of his birthday, to be forgiving of his friends, to grow
+more gentle and better as old age draws on, to recognize the proper
+limit in all things:
+
+  "H_ealth to enjoy the blessings sent_
+    F_rom heaven; a mind unclouded, strong_;
+  A_ cheerful heart; a wise content_;
+    A_n honored age; and song_."
+
+
+
+
+II. HORACE THROUGH THE AGES
+
+INTRODUCTORY
+
+
+Thus much we have had to say in the interpretation of Horace. Our
+interpretation has centered about his qualities as a person: his broad
+experience, his sensitiveness, his responsiveness, his powers of
+assimilation, his gift of expression, his concreteness as a
+representative of the world of culture, as a son of Italy, as a citizen
+of eternal Rome, as a member of the universal human family.
+
+Let us now tell the story of Horace in the life of after times. It will
+include an account of the esteem in which he was held while still in the
+flesh; of the fame he enjoyed and the influence he exercised until Rome
+as a great empire was no more and the Roman tongue and Roman spirit
+alike were decayed; of the way in which his works were preserved intact
+through obscure centuries of ignorance and turmoil; and of their second
+birth when men began to delight once more in the luxuries of the mind.
+This will prepare the way for a final chapter, on the peculiar quality
+and manner of the Horatian influence.
+
+
+
+1. HORACE THE PROPHET
+
+Horace is aware of his qualities as a poet. In an interesting blend, of
+which the first and larger part is detached and judicial estimation of
+his work, a second part literary convention, and the third and least a
+smiling and inoffensive self-assertion, he prophesies his own
+immortality.
+
+From infancy he has been set apart as the child of the Muses. At birth
+Melpomene marked him for her own. The doves of ancient story covered him
+over with the green leaves of the Apulian wood as, lost and overcome by
+weariness, he lay in peaceful slumber, and kept him safe from creeping
+and four-footed things, a babe secure in the favor of heaven. The sacred
+charm that rests upon him preserved him in the rout at Philippi, rescued
+him from the Sabine wolf, saved him from death by the falling tree and
+the waters of shipwreck. He will abide under its shadow wherever he may
+go,--to his favorite haunts in Latium, to the far north where fierce
+Britons offer up the stranger to their gods, to the far east and the
+blazing sands of the Syrian desert, to rude Spain and the streams of
+Scythia, to the treeless, naked fields of the frozen pole, to homeless
+lands under the fiery car of the too-near sun. He will rise superior to
+the envy of men. The pinions that bear him aloft through the clear ether
+will be of no usual or flagging sort. For him there shall be no death,
+no Stygian wave across which none returns:
+
+  F_orego the dirge; let no one raise the cry_,
+    O_r make unseemly show of grief and gloom_,
+  N_or think o'er me, who shall not really die_,
+    T_o rear the empty honor of the tomb_.
+
+His real self will remain among men, ever springing afresh in their
+words of praise:
+
+  N_ot lasting bronze nor pyramid upreared_
+  B_y princes shall outlive my powerful rhyme_.
+  T_he monument I build, to men endeared_,
+  N_ot biting rain, nor raging wind, nor time_,
+  E_ndlessly flowing through the countless years_,
+  S_hall e'er destroy. I shall not wholly die_;
+  T_he grave shall have of me but what appears_;
+  F_or me fresh praise shall ever multiply_.
+  A_s long as priest and silent Vestal wind_
+  T_he Capitolian steep, tongues shall tell o'er_
+  H_ow humble Horace rose above his kind_
+  W_here Aufidus's rushing waters roar_
+  I_n the parched land where rustic Daunus reigned_,
+  A_nd first taught Grecian numbers how to run_
+  I_n Latin measure. Muse! the honor gained_
+  I_s thine, for I am thine till time is done_.
+  G_racious Melpomene, O hear me now_,
+  A_nd with the Delphic bay gird round my brow_.
+
+Yet Horace does not always refer to his poetry in this serious vein; if
+indeed we are to call serious a manner of literary prophecy which has
+always been more or less conventional. His frequent disclaimers of the
+higher inspiration are well known. The Muse forbids him to attempt the
+epic strain or the praise of Augustus and Agrippa. In the face of grand
+themes like these, his genius is slight. He will not essay even the
+strain of Simonides in the lament for an Empire stained by land and sea
+with the blood of fratricidal war. His themes shall be rather the feast
+and the mimic battles of revelling youths and maidens, the making of
+love in the grots of Venus. His lyre shall be jocose, his plectrum of
+the lighter sort.
+
+He not only half-humorously disclaims the capacity for lofty themes,
+but, especially as he grows older and more philosophic, and perhaps less
+lyric, half-seriously attributes whatever he does to persevering effort.
+He has
+
+  "N_or the pride nor ample pinion_
+    T_hat the Theban eagle bear_,
+  S_ailing with supreme dominion_
+    T_hrough the azure deep of air_;"
+
+he is the bee, with infinite industry flitting from flower to flower,
+the unpretending maker of verse, fashioning his songs with only toil and
+patience. He believes in the file, in long delay before giving forth to
+the world the poem that henceforth can never be recalled. The only
+inspiration he claims for _Satire_ and _Epistle_, which, he says,
+approximate the style of spoken discourse, lies in the aptness and
+patience with which he fashions his verses from language in ordinary
+use, giving to words new dignity by means of skillful combination. Let
+anyone who wishes to be convinced undertake to do the same; he will find
+himself perspiring in a vain attempt.
+
+And if Horace did not always conceive of his inspiration as purely
+ethereal, neither did he always dream of the path to immortality as
+leading through the spacious reaches of the upper air. At forty-four, he
+is already aware of a more pedestrian path. He has observed the ways of
+the public with literature, as any writer must observe them still, and
+knows also of a certain use to which his poems are being put. Perhaps
+with some secret pride, but surely with a philosophic resignation that
+is like good-humored despair, he sees that the path is pedagogical. In
+reproachful tones, he addresses the book of _Epistles_ that is so eager
+to try its fortune in the big world: But if the prophet is not blinded
+by disgust at your foolishness, you will be prized at Rome until the
+charm of youth has left you. Then, soiled and worn by much handling of
+the common crowd, you will either silently give food to vandal worms, or
+seek exile in Utica, or be tied up and sent to Ilerda. The monitor you
+did not heed will laugh, like the man who sent his balky ass headlong
+over the cliff; for who would trouble to save anyone against his will?
+This lot, too, you may expect: for a stammering old age to come upon you
+teaching children to read in the out-of-the-way parts of town.
+
+
+
+2. HORACE AND ANCIENT ROME
+
+That Horace refers to being pointed out by the passer-by as the minstrel
+of the Roman lyre, or, in other words, as the laureate, that his satire
+provokes sufficient criticism to draw from him a defense and a
+justification of himself against the charge of cynicism, and that he
+finally records a greater freedom from the tooth of envy, are all
+indications of the prominence to which he rose. That Virgil and Varius,
+poets of recognized worth, and their friend Plotius Tucca, third of the
+whitest souls of earth, introduced him to the attention of Maecenas, and
+that the discriminating lover of excellence became his patron and made
+him known to Augustus, are evidences of the appeal of which he was
+capable both as poet and man. In the many names of worthy and
+distinguished men of letters and affairs to whom he addresses the
+individual poems, and with whom he must therefore have been on terms of
+mutual respect, is seen a further proof. Even Virgil contains passages
+disclosing a more than ordinary familiarity with Horace's work, and men
+like Ovid and Propertius, of whose personal relations with Horace
+nothing is known, not only knew but absorbed his poems.
+
+If still further evidence of Horace's worth is required, it may be seen
+in his being invited to commemorate the exploits of Drusus and Tiberius,
+the royal stepsons, against the hordes of the North, and the greatness
+of Augustus himself, ever-present help of Italy, and imperial Rome; and
+in the Emperor's expression of disappointment, sometime before the
+second book of _Epistles_ was published, that he had been mentioned in
+none of the "Talks." And, finally, if there remained in the minds of his
+generation any shadow of doubt as to the esteem in which he was held by
+the foremost men in the State, who were in most cases men of letters as
+well as patrons of letters, it was dispelled when, in the year 17,
+Horace was chosen to write the _Secular Hymn_, for use in the greatest
+religious and patriotic festival of the times.
+
+These facts receive greater significance from an appreciation of the
+poet's sincerity and independence. He will restore to Maecenas his
+gifts, if their possession is to mean a curb upon the freedom of living
+his nature calls for. He declines a secretaryship to the Emperor
+himself, and without offense to his imperial friend, who bids him be
+free of his house as if it were his own.
+
+But Horace must submit also to the more impartial judgment of time. Of
+the two innovations which gave him relief against the general
+background, one was the amplification of the crude but vigorous satire
+of Lucilius into a more perfect literary character, and the other was
+the persuasion of the Greek lyric forms into Roman service. Both
+examples had their important effects within the hundred years that
+followed on Horace's death.
+
+The satire and epistle, which Horace hardly distinguished, giving to
+both the name of _Sermo_, or "Talk," was the easier to imitate. Persius,
+dying in the year 62, at the age of twenty-eight, was steeped in Horace,
+but lacked the gentle spirit, the genial humor, and the suavity of
+expression that make Horatian satire a delight. In Juvenal, writing
+under Trajan and Hadrian, the tendency of satire toward consistent
+aggressiveness which is present in Horace and further advanced in
+Persius, has reached its goal. With Juvenal, satire is a matter of the
+lash, of vicious cut and thrust. Juvenal may tell the truth, but the
+smiling face of Horatian satire has disappeared. With him the line of
+Roman satire is extinct, but the nature of satire for all time to come
+is fixed. Juvenal, employing the form of Horace and substituting for his
+content of mellow contentment and good humor the bitterness of an
+outraged moral sense, is the last Roman and the first modern satirist.
+
+The _Odes_ found more to imitate them, but none to rival. The most
+pronounced example of their influence is found in the choruses of the
+tragic poet Seneca, where form and substance alike are constantly
+reminiscent of Horace. Two comments on the _Odes_ from the second half
+of the first century are of even greater eloquence than Seneca's example
+as testimonials to the impression made by the Horatian lyric. Petronius,
+of Nero's time, speaks of the poet's _curiosa felicitas_, meaning the
+gift of arriving, by long and careful search, at the inevitable word or
+phrase. Quintilian, writing his treatise on Instruction, sums him up
+thus: "Of our lyric poets, Horace is about the only one worth reading;
+for he sometimes reaches real heights, and he is at the same time full
+of delightfulness and grace, and both in variety of imagery and in words
+is most happily daring." To these broad strokes the modern critic has
+added little except by way of elaboration.
+
+The _Life of Horace_, written by Suetonius, the secretary of Hadrian,
+contains evidence of another, and perhaps a stronger, character
+regarding the poet's power. We see that doubtful imitations are
+beginning to circulate. "I possess," says the imperial secretary, "some
+elegies attributed to his pen, and a letter in prose, supposed to be a
+recommendation of himself to Maecenas, but I think that both are
+spurious; for the elegies are commonplace, and the letter is, besides,
+obscure, which was by no means one of his faults."
+
+The history of Roman literature from the end of the first century after
+Christ is the story of the decline of inspiration, the decline of taste,
+the decline of language, the decline of intellectual interest. Beneath
+it all and through it all there is spreading, gradually and silently,
+the insidious decay that will surely crumble the constitution of the
+ancient world. Pagan letters are uncreative, and, with few exceptions,
+without imagination and dull. The literature of the new religion,
+beginning to push green shoots from the ruins of the times, is a
+mingling of old and new substance under forms that are always old.
+
+In the main, neither Christian nor pagan will be attracted by Horace.
+The Christian will see in his gracious resignation only the philosophy
+of despair, and in his light humors only careless indulgence in the
+vanities of this world and blindness to the eternal concerns of life.
+The pagan will not appreciate the delicacy of his art, and will find the
+abundance of his literary, mythological, historical, and geographical
+allusion, the compactness of his expression, and the maturity and depth
+of his intellect, a barrier calling for too much effort. Both will
+prefer Virgil--Virgil of "arms and the man," the story-teller, Virgil
+the lover of Italy, Virgil the glorifier of Roman deeds and destiny,
+Virgil the readily understood, Virgil who has already drawn aside, at
+least partly, the veil that hangs before the mystic other-world, Virgil
+the almost Christian prophet, with the almost Biblical language, Virgil
+the spiritual, Virgil the comforter.
+
+Horace will not be popular. He will remain the poet of the few who enjoy
+the process of thinking and recognize the charm of skillful expression.
+Tacitus and Juvenal esteem him, the Emperor Alexander Severus reads him
+in leisure hours, the long list of mediocrities representing the course
+of literary history demonstrate by their content that the education of
+men of letters in general includes a knowledge of him. The greatest of
+the late pagans,--Ausonius and Claudian at the end of the fourth
+century; Boethius, philosopher-victim of Theodoric in the early sixth;
+Cassiodorus, the chronicler, imperial functionary in the same
+century,--disclose a familiarity whose foundations are to be looked for
+in love and enthusiasm rather than in mere cultivation. It may be safely
+assumed that, in general, appreciation of Horace was proportionate to
+greatness of soul and real love of literature.
+
+The same assumption may be made in the realm of Christian literature.
+Minucius Felix, calmly and logically arguing the case of Christianity
+against paganism, Tertullian the fiery preacher, Cyprian the enthusiast
+and martyr, Arnobius the rhetorical, contain no indications of
+familiarity with Horace, though this is not conclusive proof that they
+did not know and admire him; but Lactantius, the Christian Cicero,
+Jerome, the sympathetic, the sensitive, the intense, the irascible,
+Prudentius, the most original and the most vigorous of the Christian
+poets, and even Venantius Fortunatus, bishop and traveler in the late
+sixth century, and last of the Christian poets while Latin was still a
+native tongue, display a knowledge of Horace which argues also a love
+for him.
+
+The name of Venantius Fortunatus brings us to the very brink of the
+centuries called the Middle Age. If there are those who object to the
+name of Dark Age as doing injustice to the life of the times, they must
+at any rate agree that for Horace it was really dark. That his light was
+not totally lost in the shadows which enveloped the art of letters was
+due to one aspect of his immortality which we must notice before leaving
+the era of ancient Rome.
+
+Thus far, in accounting for Horace's continued fame, we have considered
+only his appeal to the individual intellect and taste, the admiration
+which represented an interest spontaneous and sincere. There was another
+phase of his fame which expressed an interest less inspired, though its
+first cause was none the less in the enthusiasm of the elect. It was the
+phase foreseen by Horace himself, and its first manifestations had
+probably appeared in his own life-time. It was the immortality of the
+text-book and the commentary.
+
+Quintilian's estimate of Horace in the _Institutes_ is an indication
+that the poet was already a subject of school instruction in the latter
+half of the first century. Juvenal, in the first quarter of the next,
+gives us a chiaroscuro glimpse into a Roman school-interior where little
+boys are sitting at their desks in early morning, each with odorous lamp
+shining upon school editions of Horace and Virgil smudged and discolored
+by soot from the wicks,
+
+        _totidem olfecisse lucernas_,
+  Q_uot stabant pueri, cum totus decolor esset_
+  F_laccus et haereret nigro fuligo Maroni_.
+(VII. 225 ff.)
+
+The use of the poet in the schools meant that lovers of learning as well
+as lovers of literary art were occupying themselves with Horace. The
+first critical edition of his works, by Marcus Valerius Probus, appeared
+as early as the time of Nero. A native of Berytus, the modern Beirut,
+disappointed in the military career, he turned to the collection, study,
+and critical editing of Latin authors, among whom, besides Horace, were
+Virgil, Lucretius, Persius, and Terence. His method, comprising careful
+comparison of manuscripts, emendations, and punctuation, with
+annotations explanatory and aesthetic, all prefaced by the author's
+biography, won him the reputation of the most erudite of Roman men of
+letters. It is in no small measure due to him that the tradition of
+Horace's text is so comparatively good.
+
+There were many other critics and interpreters of Horace. Of many of
+them, the names as well as the works have been lost. Modestus and
+Claranus, perhaps not long after Probus, are two names that survive.
+Suetonius, as we have seen, wrote the poet's _Life_, though it contains
+almost nothing not found in the works of Horace themselves. In the time
+of Hadrian appeared also the edition of Quintus Terentius Scaurus, in
+ten books, of which the _Odes_ and _Epodes_ made five, and the _Satires_
+and _Epistles_ five, the _Ars Poetica_ being set apart as a book in
+itself. At the end of the second or the beginning of the third century,
+Helenius Acro wrote commentaries on certain plays of Terence and on
+Horace, giving special attention to the persons appearing in the poet's
+pages, a favorite subject on which a considerable body of writing sprang
+up. Not long afterward appeared the commentary of Pomponius Porphyrio,
+originally published with the text of Horace, but later separately. In
+spite of modifications wrought in the course of time, only Porphyrio's,
+of all the commentaries of the first three hundred years, has preserved
+an approximation to its original character and quantity. Acro's has been
+overlaid by other commentators until the identity of his work is lost.
+The purpose of Porphyrio was to bring poetic beauty into relief by
+clarifying construction and sense, rather than to engage in learned
+exposition of the subject matter.
+
+Finally, in the year 527, the consul Vettius Agorius Basilius Mavortius,
+with the collaboration of one Felix, revised the text of at least the
+_Odes_ and _Epodes_, and perhaps also of the _Satires_ and _Epistles_.
+That there were many other editions intervening between Porphyrio's and
+his, there can be little doubt.
+
+This review of scant and scattered, but consistent, evidence is proof
+enough of Horace's hold upon the intellectual and literary leaders of
+the ancient Roman world. For the individual pagan who clung to the old
+order, he represented more acceptably than anyone else, or anyone else
+but Virgil, the ideal of a glorious past, and afforded consequently
+something of inspiration for the decaying present. Upon men who, whether
+pagan or Christian, were possessed by literary enthusiasms, and upon men
+who delighted in contemplation of the human kind, he cast the spell of
+art and humanity. Those who caught the fire directly may indeed have
+been few, but they were men of parts whose fire was communicated.
+
+As for the influence exercised by Horace upon Roman society at large
+through generation after generation of schoolboys as the centuries
+passed, its depth and breadth cannot be measured. It may be partly
+appreciated, however, by those who realize from their own experience
+both as pupils and teachers the effect upon growing and impressionable
+minds of a literature rich in morality and patriotism, and who reflect
+upon the greater amplitude of literary instruction among the ancients,
+by whom a Homer, a Virgil, or a Horace was made the vehicle of
+discipline so broad and varied as to be an education in itself.
+
+
+3. HORACE AND THE MIDDLE AGE
+
+There is no such thing as a line marking definitely the time when
+ancient Rome ceased to be itself and became the Rome of the Middle Age.
+If there were such a line, we should probably have crossed it already,
+whether in recording the last real Roman setting of the Horatian house
+in order by Mavortius in 527, or in referring to Venantius Fortunatus,
+the last of the Latin Christian poets. The usual date marking the end of
+the Western Empire, 476, is only the convenient sign for the culmination
+of the movement long since begun in the interferences of an army
+composed more and more of a non-Italian, Northern soldiery, and ending
+in a final mutiny or revolt which assumed the character of invasion and
+the permanent seizure of civil as well as military authority. The coming
+of Odoacer is the ultimate stage in the process of Roman and Italian
+exhaustion, the sign that life is not longer possible except through
+infusion of northern blood.
+
+The military and political change itself was only exterior, the outward
+demonstration of deep-seated maladies. The too-successful
+bureaucratization of Augustus and such of his successors as were really
+able and virtuous, the development of authority into tyranny by such as
+were neither able nor virtuous, but mad and wilful, had removed from
+Roman citizenship the responsibility which in the olden time had made it
+strong; and the increase of taxes, assessments, and compulsory honors
+involving personal contribution, had substituted for responsibility and
+privilege a burden so heavy that under it the civic life of the Empire
+was crushed to extinction. In Italy, above all, the ancient seed was
+running out. Under the influence of economic and social movement, the
+old stock had died and disappeared, or changed beyond recognition. The
+old language, except in the mouths and from the pens of the few, was
+fast losing its identity. Uncertainty, indifference, stagnation,
+weariness of body, mind, and soul, leaden resignation and despair,
+forgetfulness of the glories of the past in art and even in heroism,
+were the inheritance of the last generations of the old order. Jerome
+felt barbarism closing in: _Romanus orbis ruit_, he says,--the Roman
+world is tumbling in ruins.
+
+In measure as the vitality of pagan Rome was sapped, into the inert and
+decaying mass there penetrated gradually the two new life-currents of a
+new religion and a new blood. The change they wrought from the first
+century to the descent of the Northerners was not sudden, nor was it
+rapid. Nor was it always a change that carried visible warrant of
+virtue. The mingling of external races in the army and in trade, the
+interference of a Northern soldiery in the affairs of the throne, the
+more peaceful but more intimate shuffling of the population through the
+social and economic emergence of the one-time nameless and poor, whether
+of native origin or foreign, may have contributed fresh blood to an
+anaemic society, but the result most apparent to the eye and most
+disturbing to the soul was the debasement of standards and the fears
+that naturally come with violent, sudden, or merely unfamiliar change.
+The new religion may have contributed new hope and erected new
+standards, but it also contributed exaggerations, contradictions, and
+new uncertainties. The life of logic began to be displaced by the life
+of feeling.
+
+The change and turmoil of the times that attended and followed the
+crumbling of the Roman world were favorable neither to the production of
+letters nor to the enjoyment of a literary heritage. Goth, Byzantine,
+Lombard, Frank, German, Saracen, and Norman made free of the soil of
+Italy. If men were not without leisure, they were without the leisure of
+peaceful and careful contemplation, and lacked the buoyant heart without
+which assimilation of art is hardly less possible than creation.
+Ignorance had descended upon the world, and gross darkness covered the
+people. The classical authors were solid, the meat of vigorous minds.
+Their language, never the facile language of the people and the
+partially disciplined, now became a resisting medium that was foreign to
+the general run of men. Their syntax was archaic and crabbed, their
+metres forgotten. Their substance, never grasped without effort, was now
+not only difficult, but became the abstruse matter of another people and
+another age. To all but the cultivated few, they were known for anything
+but what they really were. It was an age of Virgil the mysterious
+prophet of the coming of Christ, of Virgil the necromancer. Real
+knowledge withdrew to secret and secluded refuges.
+
+If the classical authors in general were beyond the powers and outside
+the affection of men, Horace was especially so. More intellectual than
+Virgil, and less emotional, in metrical forms for the most part lost to
+their knowledge and liking, the poet of the individual heart rather than
+of men in the national or racial mass, the poet strictly of this world
+and in no respect of the next, he almost vanished from the life of men.
+
+Yet the classics were not all lost, and not even Horace perished.
+Strange to say, and yet not really strange, the most potent active
+influence in the destruction of his appeal to men was also the most
+effective instrument of his preservation. Through the darkness and the
+storms of the nine hundred years following the fall of the Western
+Empire, Horace was sheltered under the wing of the Church.
+
+It was a natural exaggeration for Christianity to begin by teaching
+absolute separation from the world, and to declare, through the mouths
+of such as Tertullian, that the blood of Christ alone sufficed and
+nothing more was needed, and that literature and all the other arts of
+paganism, together with its manners, were so inseparable from its
+religion that every part was anathema. It was natural that Horace, more
+than Virgil, should be the object of its neglect, and even of its active
+enmity. Horace is the most completely pagan of poets whose works are of
+spiritual import. The only immortality of which he takes account is the
+immortality of fame. Aside from this, the end of man is dust and shadow.
+
+It is true that in the depth of his heart he does not feel with
+Democritus, Epicurus, and Lucretius that "Dust thou art, to dust
+returnest" is spoken of soul as well as body. The old Roman instinct for
+ancestor-communion is too strong in him for that. But he acquiesces in
+their doctrine in so far as shadowy existence in another world inspires
+in him no pleasing hope. He displays no trace of the faith in the
+supernatural which accompanies the Christian hope of happy immortality.
+He contains none of the expressions of yearning for communion with the
+divine, of self-abasement in the presence of the eternal, which belong
+to Christian poetry. The flights of his muse rarely take him into the
+realm of a divine love and providence. His aspirations are for things
+achievable in this world: for faithfulness in friendship, for enduring
+courage, for irreproachable patriotism,--in short, for ideal _human_
+relations.
+
+Horace's idealism is not Christian idealism, and is only in a limited
+way even spiritual idealism. When he prays, it is likely to be for
+others rather than himself, and for temporal blessings only: for the
+success of Augustus at home and in the field, for prolongation of
+Maecenas' life and happiness, for the weal of the State, for the
+nurslings of his little flock, for health of body and contentment of
+heart. His dwelling is not in the secret place of the Most High.
+Philosophy, not religion, is his refuge and his fortress. In philosophy,
+not in God, will he trust.
+
+In a word, Horace is logical, self-reliant, and self-sufficient. He sees
+no happy future after this life, is conscious of no providence watching
+over him, is involved in no obligation to the beings of an eternal
+world. He looks this world and the next, gods and men, directly in the
+face, and expects other men to do the same. Life and its duties are for
+him clear-cut. He is no propounder of problems, no searcher after hidden
+purposes. He lacks almost absolutely the feverish aspiration and unrest
+which characterize Christian and other humanitarian modes of thought and
+sentiment, and whose manifestation is one of the best known features of
+recent modern times, as it was of the earliest Christian experience.
+
+But Christianity was a religion of men, and therefore human. If its
+exaggerations were natural, its reservations and its reactions were also
+natural. There were men whose admiration continued to be roused and
+whose affections continued to be touched by Virgil and Horace. There
+were men whose reason as well as whose instinct impelled them to employ
+the classic authors and the classic arts in the service of the new
+religion. Christianity possessed no distinct and separate media of
+expression and no separate body of knowledge which could bear fruit as
+matter of instruction. Pagan art and literature were indispensable
+whether for the study of history or of mere humanity. Christianity was
+therefore compelled to employ the old forms of art, which involved the
+use of the old instrumentalities of literary education. When, finally,
+paganism had fallen under its repeated assaults, what had been forced
+use became a matter of choice, and the classics were taken under the
+Church's protection and marked with her approval.
+
+The data regarding Horace in the Middle Age are few, but they are clear.
+We need not examine them all in order to draw conclusions.
+
+The monastic idea, of eastern origin and given currency in the West by
+Jerome, was first reduced to systematic practice by Benedict, who
+created the first Rule at Monte Cassino about the time of the Mavortian
+recension of Horace, in 527. New moral strength issued from the
+cloisters now rapidly established. Cassiodorus, especially active in
+promoting the spiritual phase of monkish retreat, made the intellectual
+life also his concern. Monte Cassino, between Naples and Rome, and
+Bobbio, in the northern part of the peninsula, were the great Italian
+centers. The Benedictine influence spread to Ireland, which before the
+end of the sixth century became a stronghold of the movement and an
+inspiration to England, Germany, France, and even Italy, where Bobbio
+itself was founded by Columban and his companions. St. Gall in
+Switzerland, Fulda at Hersfeld in Hesse-Nassau, Corvey in Saxony, Iona
+in Scotland, Tours in France, Reichenau on Lake Constance, were all
+active centers of religion and learning within two hundred years from
+Benedict's death.
+
+The monasteries not only afforded the spiritual enthusiast the
+opportunity of separation from the world of temptation and storm, but
+were equally inviting to men devoted first of all to the intellectual
+life. The scholar and the educator found within their walls not only
+peaceful escape from the harshnesses of political change and military
+broil, but the opportunity to labor usefully and unmolested in the
+occupation that pleased them most. The cloister became a Christian
+institute. The example of Cassiodorus was followed two hundred years
+later on a larger scale by Charlemagne. Schools were founded both in
+cloister and at court, scholars summoned, manuscripts copied, the life
+of pagan antiquity studied, and the bond between the languages and
+cultures of present and past made firmer. The schools of the old regime
+had fallen away in the sixth century, when Northern rule had closed the
+civic career to natives of Italy. A great advance in the intellectual
+life now laid the foundations of all cultural effort in the Middle Age.
+
+No small part of this advance was due to the preservation of manuscripts
+by copying. In this activity France was first, so far as Horace was
+concerned. The copies by the scribes of Charlemagne went back to
+Mavortius and Porphyrio, the originals of which were probably discovered
+at Bobbio by his scholars. Of the two hundred and fifty manuscripts in
+existence, the greater part are French in origin, the oldest being the
+Bernensis, of the ninth or tenth century, from near Orleans. Germany was
+a worthy second to France. The finds in monastery libraries of both
+countries in the humanist movement of the fifteenth century were
+especially rich. Italy, on the contrary, preserved few manuscripts of
+her poet, and none that is really ancient. Italy began the great
+monastery movement, but disorder and change were against the diffusion
+of culture. Charlemagne's efforts probably had little to do with Italy.
+The Church seems to have had no care to preserve the ancient culture of
+her native land.
+
+What this meant in terms of actual acquaintance with the poet would not
+be clear without evidence of other kinds. By the end of the sixth
+century, knowledge of Horace was already vague. He was not read in
+Africa, Spain, or Gaul. Read in Italy up to Charlemagne's time, a
+hundred years later his works are not to be found in the catalogue of
+Bobbio, one of the greatest seats of learning. What the general attitude
+of the Church's leadership toward him was, may be conjectured from the
+declaration of Gregory the Great against all beauty in writing. Its
+general capacity for Horace may perhaps be surmised also from the
+confession of the Pope's contemporary, Gregory of Tours, that he is
+unfamiliar with the ancient literary languages. The few readers of the
+late Empire had become fewer still. The difficult form and matter of the
+_Odes_, and their unadaptability to religious and moral use,
+disqualified them for the approval of all but the individual scholar or
+literary enthusiast. The moralities of the _Epistles_ were more
+tractable, and formed the largest contribution to the _Florilegia_, or
+flower-collections, that were circulated by themselves. Horace did not
+contain the facile and stimulating tales of Ovid, he was not a Virgil
+the story-teller and almost Christian, his lines did not exercise a
+strong appeal to the ear, he was not an example of the rhetorical, like
+Lucan, his satire did not lend itself, like a Juvenal's, to universal
+condemnation of paganism.
+
+In the eighth century, Columban knows Horace, the Venerable Bede cites
+him four times, and Alcuin is called a Flaccus. The York catalogue of
+Alcuin shows the presence of most of the classic authors. Paul the
+Deacon, who wrote a poem in the Sapphics he learned from Horace, is
+declared, he says, to be like Homer, Flaccus, and Virgil, but
+ungratefully and ungraciously adds, "men like that I'll compare with
+dogs." In Spain, Saint Isidore of Seville knew Horace in the seventh
+century, though the Rule of Isidore, as of some other monastic
+legislators, forbade the use of pagan authors without special
+permission; yet the coming of the Arabs in the eighth century, and the
+struggle between the Gothic, Christian, and Islamic civilizations
+resulted, for the next six or seven centuries, in what seems total
+oblivion of the poet.
+
+In the ninth and tenth centuries, under the impulse of the Carolingian
+favor, France, in which there is heretofore no evidence of Horace's
+presence from the end of Roman times, becomes the greatest center of
+manuscript activity, the Bernensis and six Parisian exemplars dating
+from this period. Yet the indexes of St. Gall, Reichenau, and Bobbio
+contain the name of no work of Horace, and only Nevers and Loesch
+contained his complete works. The _Ecbasis Captivi_, an animal-epic
+appearing at Toul in 940, has one fifth of its verses formed out of
+Horace in the manner of the _cento_, or patchwork. At about the same
+time, the famous Hrosvitha of Gandersheim writes her six Christian
+dramas patterned after Terence, and in them uses Horace. Mention by
+Walter of Speyer, and interest shown by the active monastery on the
+Tegernsee, are of the same period. The tenth century is sometimes spoken
+of as the Latin Renaissance under the Ottos, the first of whom, called
+the Great, crowned Emperor at Rome in 962, welcomed scholars at his
+court and made every effort to promote learning.
+
+The momentum of intellectual interest is not lost in the eleventh
+century. Paris becomes its most ardent center, with Reims, Orleans, and
+Fleury also of note. The _Codex Parisinus_ belongs to this period.
+German activity, too, is at its height, especially in the education of
+boys for the church. Italy affords one catalogue mention, of a Horace
+copied under Desiderius. Peter Damian was its man of greatest learning,
+but the times were intellectually stagnant. The popes were occupied by
+rivalry with the emperors. It was the century of Gregory the Seventh and
+Canossa.
+
+In the twelfth century came the struggle of the Hohenstaufen with the
+Italian cities, and the disorder and turmoil of the rise of the communes
+and the division of Italy. One catalogue shows a Horace, and one
+manuscript dates from the time. England and France are united by the
+Norman Conquest in much the same way as Germany and France had been
+associated in the kingdom of Charlemagne. It is the century of Roger
+Bacon. Especially in Germany, England, and France, it is the age of the
+Crusades and the knightly orders. It is an age of the spread of culture
+among the common people. In France, it is the age of the monastery of
+Cluny, and the age of Abelard. Education and travel became the mode. In
+general, acquaintance with Horace among cultivated men may now be taken
+for granted. The _Epistles_ and _Satires_ find more favor than the
+_Odes_. Five hundred and twenty citations of the former and
+seventy-seven of the latter have been collected for the twelfth century.
+
+The thirteenth century marks a decline in the intellectual life. The
+Crusades exhaust the energies of the time, and detract from its literary
+interest. The German rulers and the Italian ecclesiasts are absorbed in
+the struggle for supremacy between pope and emperor. Scholasticism
+overshadows humanism. The humanistic tradition of Charlemagne has died
+out, and the intellectual ideal is represented by Vincent of Beauvais
+and the _Speculum Historiale_. There is no mention of Horace in the
+catalogues of Italy. The manuscripts of France are careless, the
+comments and glosses poor. The decline will continue until arrested by
+the Renaissance.
+
+It must not be forgotten that among all these scattered and flickering
+attentions to Horace there was the constant nucleus of instruction in
+the school. That he was used for this purpose first in the Carolingian
+cloister-schools, and later in the secular schools which grew to
+independent existence as a result of the vigorous spread of educational
+spirit, cannot be doubtful. Gerbert, dying at the beginning of the
+eleventh century as Pope Sylvester II, is known to have interpreted
+Horace in his school. This is the oldest direct evidence of the
+scholastic use of Horace, but other proofs are to be seen in the
+commentaries of the medieval period, all of which are of a kind suitable
+for school use, and in the marginal annotations, often in the native
+tongue.
+
+The decline of humane studies in the thirteenth and fourteenth centuries
+meant also the decline of interest in Horace, who had always been above
+all the poet of the cultivated few. At the beginning of the thirteenth
+century in Italy, nowhere but at Bologna and Rome was Latin taught
+except as the elementary instruction necessary to the study of civil and
+canonical law. Gaufried of Vinesaux, coming from England to Italy, and
+composing an _Ars Dictaminis_ and a _Poietria Nova_ containing Horatian
+reminiscences, is one of two or three significant examples of Latin
+teachers who concerned themselves with literature as well as language.
+Coluccio Salutati, wanting to buy a copy of Horace in 1370, is
+apparently unable to find it. The decline of interest in Horace will be
+arrested only by the Rebirth of Learning.
+
+The intellectual movement back to the classical authors and the
+classical civilizations is well called the Rebirth. The brilliance of
+the new era as compared with the thousand years that lead to it from the
+most high and palmiest days of Rome is such as to dim almost to darkness
+the brightest days of medieval culture. The new life into which Horace
+is now to enter will be so spirited and full that the old life, though
+by no means devoid of active influence in society at large and in the
+individual soul, will seem indeed like a long death and a waiting for
+the resurrection into a new heaven and a new earth.
+
+
+4. HORACE AND MODERN TIMES
+
+THE REBIRTH OF HORACE
+
+The national character of the _Aeneid_ gave Virgil a greater appeal than
+Horace in ancient Roman times. In the Middle Age, his qualities as
+story-teller and poet of the compassionate heart, together with his fame
+as necromancer and prophet, made still more pronounced the favor in
+which he was held. The ignorance of the earlier centuries of the period
+could not appreciate Horace the logical, the intellectual, the
+difficult, while the schematized religion and knowledge of the later
+were not attracted by Horace the philosophical and individual.
+
+With the Renaissance and its quickening of intellectual life in general,
+and in particular the value it set upon personality and individualism,
+the positions of the poets were reversed. For four hundred years now it
+can hardly be denied that Horace rather than Virgil has been the
+representative Latin poet of humanism.
+
+This is not to say that Horace is greater than Virgil, or that he is as
+great. Virgil is still the poet of stately movement and golden
+narrative, the poet of the grand style. Owing to the greater facility
+with which he may be read, he is also still the poet of the young and of
+greater numbers. With the coming of the new era he did not lose in the
+esteem that is based upon the appreciation of literary art, but rather
+gained.
+
+It will be better to say that Horace finally came more fully into his
+own. This was not because he changed. He did not change. The times
+changed. The barriers of intellectual sloth and artificiality fell away,
+and men became accessible to him. Virgil lost nothing of his old-time
+appeal to the fancy and to the ear, but Horace's virtues also were
+discovered: his distinction in word and phrase, his understanding of the
+human heart. Virgil lost nothing of his charm for youth and age, but
+Horace was discovered as the poet of the riper and more thoughtful mind.
+Virgil remained the admired, but Horace became the friend. Virgil
+remained the guide, but Horace became the companion. "Virgil," says
+Oliver Wendell Holmes, "has been the object of an adoration amounting
+almost to worship, but he will often be found on the shelf, while Horace
+lies on the student's table, next his hand."
+
+The nature and extent of Horace's influence upon modern letters and life
+will be best brought into relief by a brief historical review. It is not
+necessary to this purpose, nor would it be possible, within ordinary
+limits, to enter into a detailed account. It will be appropriate to
+begin with Italy.
+
+
+_i_. IN ITALY
+
+Horace did not spring immediately into prominence with the coming of the
+Renaissance, whether elsewhere or in Italy. As might be expected, the
+essentially epic and medieval Dante found inspiration in Virgil rather
+than in Horace, though the _Ars Poetica_ was known to him and quoted
+more than once as authority on style. "This is what our master Horace
+teaches," runs one of the passages, "when at the beginning of _Poetry_
+he says, 'Choose a subject, etc.'" The imperfect idea of Horace formed
+in Dante's mind is indicated by the one verse in the _Divina Commedia_
+which refers to him:
+
+  L' altro e Orazio satiro che viene,--
+
+  T_he other coming is Horace the satirist_.
+
+With Petrarch, the first great figure to emerge from the obscure vistas
+of medievalism, the case was different. The first modern who really
+understood the classics understood Horace also, and did him greater
+justice than fell to his lot again for many generations. The copy of
+Horace's works which he acquired on November 28, 1347, remained by him
+until on the 18th of July in 1374 the venerable poet and scholar was
+found dead at the age of seventy among his books. Fond as he was of
+Virgil, Cicero, and Seneca, he had an intimate and affectionate
+knowledge of Horace, to whom there are references in all his works, and
+from whom he enriched his philosophy of life. Even his greatest and most
+original creation, the _Canzoniere_, is not without marks of Horace, and
+their fewness here, as well as their character, are a sign that
+Petrarch's familiarity was not of the artificial sort, but based on real
+assimilation of the poet. His letter to Horace begins:
+
+    Salve o dei lirici modi sovrano,
+    Salve o degl' Itali gloria ed onor,--
+
+  H_ail! Sovereign of the lyric measure_,
+  H_ail! Italy's great pride and treasure_;
+
+and, after recounting the qualities of the poet, and acknowledging him
+as guide, teacher, and lord, concludes:
+
+    Tanto e l' amor che a te m'avvince; tanto
+      E degli affetti miei donno il tuo canto--
+
+  S_o great the love that bindeth me to thee_;
+  S_o ruleth in my heart thy minstrelsy_.
+
+But Petrarch is a torch-bearer so far in advance of his successors that
+the illumination almost dies out again before they arrive. It was not
+until well into the fifteenth century that the long and numerous line of
+imitators, translators, adapters, parodists, commentators, editors, and
+publishers began, which has continued to the present day. The
+modern-Latin poets in all countries were the first, but their efforts
+soon gave place to attempts in the vernacular tongues. The German Eduard
+Stemplinger, in his _Life of the Horatian Lyric Since the Renaissance_,
+published in 1906, knows 90 English renderings of the entire _Odes_ of
+Horace, 70 German, 100 French, and 48 Italian. Some are in prose, some
+even in dialect. The poet of Venusia is made a Burgundian, a Berliner,
+and even a Platt-deutsch. All of these are attempts to transfuse Horace
+into the veins of modern life, and are significant of their authors'
+conviction as to the vitalizing power of the ancient poet. No author
+from among the classics has been so frequently translated as Horace.
+
+Petrarch, as we have seen, led the modern world by a century in the
+appreciation of Horace. It was in 1470, ninety-six years after the
+laureate's death, that Italy achieved the first printed edition of the
+poet, which was also the first in the world. This was followed in 1474
+by a printing of Acro's notes, grown by accretion since their origin in
+the third century into a much larger body of commentary. In 1476 was
+published the first Horace containing both text and notes, which were
+those of Acro and Porphyrio, and in 1482 appeared Landinus's notes, the
+first printed commentary on Horace by a modern humanist. Landinus was
+prefaced by a Latin poem of Politian's, who, with Lorenzo dei Medici,
+was a sort of arbiter in taste, and who produced in 1500 a Horace of his
+own. Mancinelli, who, like many other scholars of the time, gave public
+readings and interpretations of Horace and other classics, in 1492
+dedicated to the celebrated enthusiast Pomponius Laetus an edition of
+the _Odes_, _Epodes_, and _Secular Hymn_, in which he so successfully
+integrated the comments of Acro, Porphyrio, Landinus, and himself, that
+for the next hundred years it remained the most authoritative Horace. In
+Italy, between 1470 and 1500, appeared no fewer than 44 editions of the
+poet, while in France there were four and in Germany about ten. Venice
+alone published, from 1490 to 1500, thirteen editions containing text
+and commentary by "The Great Four," as they were called. The famous
+Aldine editions began to appear in 1501. Besides Venice, Florence, and
+Rome, Ferrara came early to be a brilliant center of Horatian study,
+Lionel d'Este and the Guarini preparing the way for the more
+distinguished, if less scholastic, discipleship of Ariosto and Tasso.
+Naples and the South displayed little activity.
+
+Roughly speaking, the later fifteenth century was the age of manuscript
+recovery, commentary, and publication; the sixteenth, the century of
+translation, imitation, and ambitious attempt to rival the ancients on
+their own ground; the seventeenth and eighteenth, the centuries of
+critical erudition, with many commentaries and versions and much
+discussion of the theory of translation; and the nineteenth, the century
+of scientific revision and reconstruction. In the last movement, Italy
+had comparatively small part. Among her translators during these
+centuries must be mentioned Ludovico Dolce, whose excellent rendering of
+the _Satires_ and _Epistles_ was a product of the early sixteenth;
+Scipione Ponsa, whose faithful _Ars Poetica_ in _ottava rima_ appeared
+in the first half of the seventeenth; the advocate Borgianelli, whose
+brilliant version of Horace entire belongs to the second half; and the
+Venetian Abriani, whose complete _Odes_ in the original meters, the
+first achievement of the kind, was a not unsuccessful performance which
+has taken its place among Horatian curiosities. Among literary critics
+are the names of Gravina, whose _Della Ragione Poetica_, full of sound
+scholarship and refreshing good sense, appeared in 1716 at Naples; Volpi
+of Padua, author of a treatise on Satire, in which the merits of
+Lucilius, Horace, Juvenal, and Persius were effectively discussed; and
+their followers, Algarotti the Venetian and Vannetti of Roveredo, in
+whom Horatian criticism reached its greatest altitude.
+
+If we look outside the field of scholastic endeavor and academic
+imitation, and attempt to discern the effect of Horace in actual
+literary creation, we are confronted by the difficulty of determining
+exactly where imitation and adaptation cease to be artificial, and reach
+the degree of individuality and independence which entitles them to the
+name of originality. If we are to include here such authors as are
+manifestly indebted to suggestion or inspiration from Horace, and yet
+are quite as manifestly modern and Italian, we may note at least the
+names of Petrarch, already mentioned; the famous Cardinal Bembo, whose
+ideal, to write "thoughtfully and little," was a reflection of Horace;
+Ariosto, whose satires are in the Horatian spirit, and who, complaining
+to his brother Alessandro of the attitude of his patron, Cardinal
+Hippolyto d'Este, recites the story of the fox and the weasel, changing
+them to donkey and rat; Chiabrera of Savona, who wrote satire
+honeycombed with Horatian allusion and permeated by Horatian spirit, and
+who, in Leopardi's opinion, had he lived in a different age, would have
+been a second Horace; Testi of Ferrara, whom Ariosto's enthusiasm for
+Horace so kindled that he gravitated from the modern spirit to the
+classical; Parini of Milan, whose poem, _Alla Musa_, is Horatian in
+spirit and phrase; Leopardi, who composed a parody on the _Ars Poetica_;
+Prati, who transmuted _Epode II_ into the _Song of Hygieia_; and
+Carducci, whose use of Horatian meters, somewhat strained, is due to the
+conscious desire of making Italy's past greatness serve the present. The
+names of Bernardo Tasso and Torquato Tasso might be added.
+
+It is not impossible, also, that the musical debt of the world to Italy
+is in a measure owing to Horace. Whether the music which accompanied the
+_Odes_ as they emerged from the Middle Age was only the invention of
+monks, or the survival of actual Horatian music from antiquity, is a
+question hardly to be answered; but the setting of Horace to music in
+the Renaissance was not without an influence. In 1507, Tritonius
+composed four-voice parts for twenty-two different meters of Horace and
+other poets. In 1526, Michael engaged in the same effort, and in 1534
+Senfl developed the youthful compositions of Tritonius. All this was for
+school purposes. With the beginnings of Italian opera, these
+compositions, in which the music was without measure and held strictly
+to the service of poetry, came to an end. It is not unreasonable to
+suspect that in these early attempts at the union of ancient verse and
+music there exist the beginnings of the musical drama.
+
+
+_ii_. IN FRANCE
+
+France, where the great majority of Horatian manuscripts were preserved,
+was the first to produce a translation of the _Odes_. Grandichan in
+1541, and Pelletier in 1545, published translations of the _Ars Poetica_
+which had important consequences. The famous Pleiad, whose most
+brilliant star, Pierre de Ronsard, was king of poetry for more than a
+score of years, were enthusiastic believers in the imitation of the
+classics as a means for the improvement of letters in France. Du Bellay,
+the second in magnitude, published in 1550 his _Deffence et illustration
+de la langue francoyse_, a manifesto of the Pleiad full of quotations
+from the _Ars Poetica_ refuting a similar work of Sibilet published in
+1548. Ronsard himself is said to have been the first to use the word
+"ode" for Horace's lyrics. The meeting of the two, in 1547, is regarded
+as the beginning of the French school of Renaissance poetry. Horace thus
+became at the beginning an influence of the first magnitude in the
+actual life of modern French letters. In 1579 appeared Mondot's complete
+translation. The versions of Dacier and Sanadon, in prose, in the
+earlier eighteenth century, were an innovation provoking spirited
+opposition in Italy. The line of translators, imitators, and enthusiasts
+in France is as numerous as that of other countries. The list of great
+authors inspired by Horace includes such names as Montaigne, "The French
+Horace," Malherbe, Regnier, Boileau, La Fontaine, Corneille, Racine,
+Moliere, Voltaire, Jean Baptiste Rousseau, Le Brun, Andre Chenier, De
+Musset.
+
+
+_iii_. IN GERMANY
+
+In Germany, the Renaissance movement had its pronounced beginning at
+Heidelberg. In that city began also the active study of Horace, in the
+lectures on Horace in 1456. The _Epistles_ were first printed in 1482 at
+Leipzig, the _Epodes_ in 1488, and in 1492 appeared the first complete
+Horace. Up to 1500, about ten editions had been published, only those of
+1492 and 1498 being Horace entire, and none of them with commentary
+except that of 1498, which had a few notes and metrical signs to
+indicate the structure of the verse. The first German to translate a
+poem of Horace was Johann Fischart, 1550-90, who rendered the second
+_Epode_ in 145 rhymed couplets. The famous Silesian, Opitz, "father of
+German poetry," and his followers, were to Germany what the Pleiad were
+to France. His work on poetry, 1624, was grounded in Horace, and was
+long the canon. Bucholz, in 1639, produced the first translation of an
+entire book of the _Odes_ in German. Weckherlin, 1548-1653, translated
+three _Odes_, Gottsched of Leipzig, 1700-66, and Breitinge of Zurich,
+confess Horace as master of the art of poetry, and their cities become
+the centers of many translations. Guenther, 1695-1728, the most gifted
+lyric poet of his race before Klopstock, made Horace his companion and
+confidant of leisure hours. Hagedorn, 1708-54, forms his philosophy from
+Horace,--"my friend, my teacher, my companion." Of Ramler, for
+thirty-five years dictator of the Berlin literary world, who translated
+and published some of the _Odes_ in 1769 and was called the German
+Horace, Lessing said that no sovereign had ever been so beautifully
+addressed as was Frederick the Great in his imitation of the Maecenas
+ode. The epoch-making Klopstock, 1724-1803, quotes, translates, and
+imitates Horace, and uses Horatian subjects. Heinse reads him and writes
+of him enthusiastically, and Platen, 1796-1835, is so full of Homer and
+Horace that he can do nothing of his own. Lessing and Herder are devoted
+Horatians, though Herder thinks that Lessing and Winckelmann are too
+unreserved in their enthusiasm for the imitation of classical letters.
+Goethe praises Horace for lyric charm and for understanding of art and
+life, and studies his meters while composing the _Elegies_. Nietzsche's
+letters abound in quotation and phrase. Even the Church in Germany shows
+the impress of Horace in some of her greatest hymns, which are in
+Alcaics and Sapphics of Horatian origin. To speak of the German editors,
+commentators, and critics of the nineteenth century would be almost to
+review the history of Horace in modern school and university; such has
+been the ardor of the German soul and the industry of the German mind.
+
+
+_iv_. IN SPAIN
+
+A glance at the use of Horace in Spain will afford not the least
+edifying of modern examples. The inventories of Spanish libraries in the
+Middle Age rarely contain the name of Horace, or the names of his lyric
+brethren, Catullus, Tibullus, and Propertius. Virgil, Lucan, Martial,
+Seneca, and Pliny are much more frequent. It was not until the fifteenth
+century that reminiscences of the style and ideas of Horace began to
+appear in quantity. Imitation rather than translation was the vehicle of
+Spanish enthusiasm. The fountain of Horatianism in Spain was the
+imitation of _Epode II_, _Beatus Ille_, by the Marquis de Santillana,
+one of Castile's two first sonneteers, in the first half of the
+fifteenth century. Garcilaso also produced many imitations of the
+_Odes_. The Horatian lyric seemed especially congenial to the Spanish
+spirit and language. Fray Luis de Leon, of Salamanca, the first real
+Spanish poet, and the most inspired of all the Spanish lovers of Horace,
+was an example of the poet translating the poet where both were great
+men. He not only brought back to life once more "that marvelous
+sobriety, that rapidity of idea and conciseness of phrase, that
+terseness and brilliance, that sovereign calm and serenity in the spirit
+of the artist," which characterized the ancient poet, but added to the
+Horatian lyre the new string of Christian mysticism, and thus wedded the
+ancient and the modern. "Luis de Leon is our great Horatian poet," says
+Menendez y Pelayo. Lope de Vega wrote an _Ode to Liberty_, and was
+influenced by the _Epistles_. The _Flores de Poetas ilustres de Espana_,
+arranged by Pedro Espinosa and published in 1605 at Valladolid, included
+translations of eighteen odes. Hardly a lyric poet of the eighteenth
+century failed to turn some part of Horace into Spanish. Salamanca
+perfected the ode, Seville the epistle, Aragon the satire. Mendoza in
+his nine _Epistles_ shows his debt to Horace. In 1592, Luis de Zapata
+published at Lisbon a not very successful verse translation of the _Ars
+Poetica_. In 1616, Francisco de Cascales of Murcia published _Fablas
+Poeticas_, containing in dialogue the substance of the same composition,
+which had been translated by Espinel, 1551-1624, and which was
+translated again in 1684, twice in 1777, and in 1827. Seville founded a
+Horatian Academy. The greatest of the Spanish translators of Horace
+entire was Javier de Burgos, whose edition of four volumes, 1819-1844,
+is called by Menendez y Pelayo the only readable complete translation of
+Horace, "one of the most precious and enviable jewels of our modern
+literature," and "perhaps the best of all Horaces in the neo-Latin
+tongues." The nearest rival of Burgos was Martinez de la Rosa. The
+greatest Spanish scholar and critic of Horace is Menendez y Pelayo,
+editor of the _Odes_, 1882, and author of _Horacio en Espana_, 1885.
+
+In the index of _Horacio en Espana_ are to be found the names of 165
+Castilian translators of the poet, 50 Portuguese, 10 Catalan, 2
+Asturian, and 1 Galician. There appear the names of 29 commentators. Of
+complete translations, there are 6 Castilian and 1 Portuguese; of
+complete translations of the _Odes_, 6 Castilian and 7 Portuguese; of
+the _Satires_, 1 Castilian and 2 Portuguese; of the _Epistles_, 1
+Castilian and 1 Portuguese; of the _Ars Poetica_, 35 Castilian, 11
+Portuguese, and 1 Catalan. The sixteenth century translators were
+distinguished in general by facility and grace, the freshness and
+abandon of youth, and a considerable degree of freedom, or even license.
+Those of the eighteenth show a gain in accuracy and a loss in spirit.
+
+
+_v_. IN ENGLAND
+
+The appeal of Horace in England and English-speaking countries has been
+as fruitful as elsewhere in scholarship, with the possible exception of
+Germany. In its effect upon the actual fibre of literature and life, it
+has been more fruitful.
+
+A review of Horatian study in England would include the names of Talbot
+and Baxter, but, above all, of the incomparably brilliant Richard
+Bentley, despite his excesses, themselves due to his very genius, the
+most famous and most stimulating critic and commentator of Horace the
+world has seen. His edition, appearing in 1711, provoked in 1717 the
+anti-Bentleian rejoinder of Richard Johnson, and in 1721 the more
+ambitious but equally unsuccessful attempt to discredit him by the
+Scotch Alexander Cunningham. The primacy in the study of Horace which
+Bentley conferred upon England had been enjoyed previously by the Low
+Countries and France, to which it had passed from Italy in the second
+half of the sixteenth century. The immediate sign of this transfer of
+the center to northern lands was the publication in 1561 at Lyons of the
+edition containing the text revision and critical notes of Lambinus and
+the commentary of the famous Cruquius of Bruges. The celebrated Scaliger
+was unfavorably disposed to Horace, who found a defender in Heinsius,
+another scholar of the Netherlands. D'Alembert, who became a sort of
+_Ars Poetica_ to translators, published his _Observations_ at Amsterdam
+in 1763.
+
+An account of the English translations of the poet would include many
+renderings of individual poems, such as those of Dryden, Sir Stephen E.
+De Vere, and John Conington, and the version of Theodore Martin,
+probably the most successful complete metrical translation of Horace in
+any language. It is literally true that "every theory of translation has
+been exemplified in some English rendering of Horace."
+
+It is in the field of literature, however, that the manifestations of
+Horace's hold upon the English are most numerous and most significant.
+Even Shakespeare's "small Latin" includes him, in _Titus Andronicus_:
+
+Demetrius.
+
+  W_hat's here? A scroll, and written round about!_
+  L_et's see_:
+
+      Integer vitae scelerisque purus
+      Non eget Mauri jaculis nec arcu.
+
+Chiron.
+
+  O_, 'tis a verse in Horace; I know it well_:
+  I_ read it in the grammar long ago_.
+
+The mere mention of English authors in poetry and prose who were touched
+and kindled by the Horatian flame would amount to a review of the whole
+course of English literature. It would begin principally with Spenser
+and Ben Jonson, who in some measure represented in their land what the
+Pleiad meant in France, and Opitz and his following in Germany. "Steep
+yourselves in the classics," was Jonson's counsel, and his countrymen
+did thus steep themselves to such a degree that it is possible for the
+student to say of Milton's times: "The door to English literature and
+history of the seventeenth century is open wide to those who are at ease
+in the presence of Latin. Many writings and events of the time may
+doubtless be understood and enjoyed by readers ignorant of the classics,
+but to them the heart and spirit of the period as a whole will hardly be
+revealed. Poetry, philosophy, history, biography, controversy, sermons,
+correspondence, even conversation,--all have come down to us from the
+age of Milton either written in or so touched with Latin that one is
+compelled to enter seventeenth century England by way of Rome as Rome
+must be entered by way of Athens."
+
+Great as was the vogue of Latin in the earlier centuries, it was the
+first half of the eighteenth, the most critical period in English
+letters, that realized to the full the virtues of Horace. His words in
+the _Ars Poetica_ "were accepted, even more widely than the laws of
+Aristotle, as the standard of critical judgment. Addison and Steele by
+their choice of mottoes for their periodicals, Prior by his adoption of
+a type of lyric that has since his time been designated as Horatian, and
+Pope with his imposing series of _Imitations_, gave such an impulse to
+the already widespread interest that it was carried on through the whole
+of the century." "Horace may be said to pervade the literature of the
+eighteenth century in three ways: as a teacher of political and social
+morality; as a master of the art of poetry; and as a sort of _elegantiae
+arbiter_." Richardson, Sterne, Smollett, and Fielding, Gay, Samuel
+Johnson, Chesterfield, and Walpole, were all familiar with and fond of
+Horace, and took him unto themselves.
+
+In the nineteenth century, Wordsworth has an intimate familiarity with
+Virgil, Catullus, and Horace, but loves Horace best; Coleridge thinks
+highly of his literary criticism; Byron, who never was greatly fond of
+him, frequently quotes him; Shelley reads him with pleasure; Browning's
+_The Ring and the Book_ contains many quotations from him; Thackeray
+makes use of phrases from the _Odes_ "with an ease and facility which
+nothing but close intimacy could produce"; Andrew Lang addresses to him
+the most charming of his _Letters to Dead Authors_; and Austin Dobson is
+inspired by him in many of his exquisite poems in lighter vein. These
+names, and those in the paragraphs preceding, are not all that might be
+mentioned. The literature of England is honey-combed with the classic
+authors in general, and Horace is among the foremost. Without him and
+without the classics, a great part of our literary patrimony is of
+little use.
+
+
+_vi_. IN THE SCHOOLS
+
+Of the place of Horace in the schools and universities of all these
+countries, and of the world of western civilization in general, it is
+hardly necessary to speak. The enlightened sentiment of the five hundred
+years since the death of Petrarch has been enthusiastic in the
+conviction that the Greek and Latin classics are indispensable to
+instruction of the first quality, and that among them Horace is of
+exceeding value as a model of poetic taste and as an influence in the
+formation of a philosophy of life. If his place has been less secure in
+latter days, it is due less to alteration of that conviction than to
+extension of the educational system to the utilitarian arts and
+sciences, and to the passing of educational control from the few to the
+general average.
+
+
+
+
+III. HORACE THE DYNAMIC
+
+THE CULTIVATED FEW
+
+
+We have followed in such manner and at such length as is possible for
+our purpose the fortunes of Horace through the ages from his death and
+the death of the Empire in whose service his pen was employed to our own
+times. We have seen that he never was really forgotten, and that there
+never was a time of long duration when he ceased to be of real
+importance to some portion of mankind.
+
+The recital of historical fact is at best a narration of circumstance to
+which there clings little of the warmth of life. An historical event
+itself is but the cumulated and often frigid result of intimate original
+forces that may have meant long travail of body and soul before the act
+of realization became possible. The record of the event in chronicle or
+its commemoration in monument is only the sign that at some time there
+occurred a significant moment rendered inevitable by previous stirrings
+of life whose intensity, if not whose very identity, are forgotten or no
+longer realized.
+
+Thus the enumeration of manuscript revisions, translations, imitations,
+and scholastic editions of Horace may also seem at first sight the
+narrative of cold detail. There may be readers who, remembering the
+scant stream of the cultivated few who tided the poet through the
+centuries of darkness, and the comparative rareness of cultivated men at
+all times, will be slow to be convinced of any real impress of Horace
+upon the life of men. They especially who reflect that during all the
+long sweep of time the majority of those who have known him, and even of
+those who have been stirred to enthusiasm by him, have known him through
+the compulsion of the school, and who reflect farther on the
+artificialities, the insincerities, the pettinesses, the abuses, and the
+hatreds of the class-room, the joy with which at the end the text-book
+is dropped or bidden an even more violent farewell, and the apparently
+total oblivion that follows, will be inclined to view as exaggeration
+the most moderate estimate of our debt to him.
+
+Yet skepticism would be without warrant. The presence of any subject in
+an educational scheme represents the sincere, and often the fervent,
+conviction that it is worthy of the place. In the case of literary
+subjects, the nearer the approach to pure letters, the less demonstrable
+the connection between instruction and the winning of livelihood, the
+more intense the conviction. The immortality of literature and the arts,
+which surely has been demonstrated by time, the respect in which they
+are held by a world so intent on mere living that of its own motion it
+would never heed, is the work of the passionate few whose enthusiasms
+and protestations never allow the common crowd completely to forget, and
+keep forever alive in it the uneasy sense of imperfection. That Horace
+was preserved for hundreds of years by monastery and school, that the
+fact of acquaintance with him is due to his place in modern systems of
+education, are not mere statements empty of life. They represent the
+noble enthusiasms of enlightened men. The history of human progress has
+been the history of enthusiasms. Without enthusiasms, the fabric of
+civilization would collapse in a day into the chaos of barbarism.
+
+To give greater completeness and reality to our account of Horace's
+place among men, ancient and modern, we must in some way add to the
+narrative of formal fact the demonstration of his influence in actual
+operation. In the case of periods obscure and remote, this is hardly
+possible. In the case of modern times it is not so difficult. For the
+recent centuries, as proof of the peculiar power of Horace, we have the
+abundant testimony of literature and biography.
+
+Let us call this influence the Dynamic Power of Horace. Dynamic power is
+the power that explodes men, so to speak, into physical or spiritual
+action, that operates by inspiration, expansion, fertilization,
+vitalization, and results in the living of a fuller life. If we can be
+shown concrete instances of Horace enriching the lives of men by
+increasing their love and mastery of art or multiplying their means of
+happiness, we shall not only appreciate better the poet's meaning for
+the present day, but be better able to imagine his effect upon men in
+the remoter ages whose life is less open to scrutiny.
+
+Our purpose will best be accomplished by demonstrating the very specific
+and pronounced effect of Horace, first, upon the formation of the
+literary ideal; second, upon the actual creation of literature; and,
+third, upon living itself.
+
+
+1. HORACE AND THE LITERARY IDEAL
+
+There is no better example of the direct effect of Horace than the part
+played in the discipline of letters by the _Ars Poetica_. This work is a
+literary _causerie_ inspired in part by the reading of Alexandrian
+criticism, but in larger part by experience. In it the author's
+uppermost themes, as in characteristic manner he allows himself to be
+led on from one thought to another, are unity, consistency, propriety,
+truthfulness, sanity, and carefulness. Such has been its power by reason
+of inner substance and outward circumstance that it has been at times
+exalted into a court of appeal hardly less authoritative than Aristotle
+himself, from whom in large part it ultimately derives.
+
+We have seen how the Pleiad, with Du Bellay and Ronsard leading, seized
+upon the classics as a means of elevating the literature of France, and
+how the treatise of Du Bellay which was put forth as their manifesto was
+full of matter from the _Ars Poetica_, which two years previously has
+served Sibilet also, whose work Du Bellay attacked. A century later,
+Boileau's _L'Art Poetique_ testifies again to the inspiration of Horace,
+who is made the means of riveting still more firmly upon French drama,
+for good or ill, the strict rules that have always governed it; and by
+the time of Boileau's death the program of the Pleiad is revived a
+second time by Jean Baptiste Rousseau. Opitz and Gottsched in the
+seventeenth and eighteenth centuries are for Germany what Du Bellay and
+Boileau were for France in the sixteenth and seventeenth. Literary Spain
+of the latter fifteenth and early sixteenth centuries was under the same
+influence. The Spanish peninsula, according to Menendez y Pelayo, has
+produced no fewer than forty-seven translations of the _Ars Poetica_.
+Even in England, always less tractable in the matter of rules than the
+Latin countries, Ben Jonson and his friends are in some sort another
+Pleiad, and the treatise possesses immense authority throughout the
+centuries. We turn the pages of Cowl's _The Theory of Poetry in
+England_, a book of critical extracts illustrating the development of
+poetry "in doctrines and ideas from the sixteenth century to the
+nineteenth century," and note Ben Jonson and Wordsworth referring to or
+quoting Horace in the section on Poetic Creation; Dryden and Temple
+appealing to him and Aristotle on the Rules; Hurd quoting him on Nature
+and the Stage; Roger Ascham, Ben Jonson, and Dryden citing him as an
+example on Imitation; Dryden and Chapman calling him master and
+law-giver on Translation; Samuel Johnson referring to him on the same
+subject; and Ben Jonson and Dryden using him on Functions and Principles
+of Criticism. "Horace," writes Jonson, "an author of much civility, ...
+an excellent and true judge upon cause and reason, not because he
+thought so, but because he knew so out of use and experience." Pope, in
+the _Essay on Criticism_, describes with peculiar felicity both Horace's
+critical manner and the character of the authority, persuasive rather
+than tyrannical, which he exercises over Englishmen:
+
+  "H_orace still charms with graceful negligence_,
+  A_nd without method talks us into sense_;
+  W_ill, like a friend, familiarly convey_
+  T_he truest notions in the easiest way_."
+
+But the dynamic power of the _Ars Poetica_ will be still better
+appreciated if we assemble some of its familiar principles. Who has not
+heard of and wondered at the hold the "Rules" have had upon modern
+drama, especially in France,--the rule of five acts, no more and no
+less; the rule of three actors only, liberalized into the rule of
+economy; the rule of the unities in time, place, and action; the rule
+against the mingling of the tragic and comic "kinds"; the rule against
+the artificial denouement? Who has not heard of French playwrights
+composing "with one eye on the clock" for fear of violating the unity of
+time, or of their delight in the writing of drama as in "a difficult
+game well played?" If Alexandrian criticism, and, back of it, Aristotle,
+were ultimately responsible for the rules, Horace was their disseminator
+in later times, and was looked up to as final authority. Who has not
+heard and read repeatedly the now common-place injunctions to be
+appropriate and consistent in character-drawing; to avoid, on the one
+hand, clearness at the cost of diffuseness, and, on the other, brevity
+at the cost of obscurity; to choose subject-matter suited to one's
+powers; to respect the authority of the masterpiece and to con by night
+and by day the great Greek exemplars; to feel the emotion one wishes to
+rouse; to stamp the universal with the mark of individual genius; to be
+straightforward and rapid and omit the unessential; to be truthful to
+life; to keep the improbable and the horrible behind the scenes; to be
+appropriate in meter and diction; to keep clear of the fallacy of poetic
+madness; to look for the real sources of successful writing in sanity,
+depth of knowledge, and experience with men; to remember the mutual
+indispensability of genius and cultivation; to combine the pleasant and
+the useful; to deny one's self the indulgence of mediocrity; never to
+compose unless under inspiration; to give heed to solid critical
+counsel; to lock up one's manuscript for nine years before giving it to
+the world; to destroy what does not measure up to the ideal; to take
+ever-lasting pains; to beware of the compliments of good-natured
+friends? Not less familiar are the apt figurative illustrations of the
+woman beautiful above and an ugly fish below, the purple patch, the
+painter who would forever put in his cypress tree, the amphora that came
+out a pitcher, the dolphin in the wood and the boar in the waters, the
+sesquipedalian word, the mountains in travail and the birth of the
+ridiculous mouse, the plunge _in medias res_, the praiser of the good
+old times, the exclusion of sane poets from Helicon, the counsellor who
+himself can write nothing, but will serve as whetstone for genius, the
+nodding of Homer.
+
+Nor did the effects of this diffusion of Horatian precept consist merely
+in restraint upon the youthful and the impulsive, or confine themselves
+to the drama, with which the _Ars Poetica_ was mainly concerned. The
+persuasive and authoritative counsels of the Roman poet have entered, so
+to speak, into the circulatory system of literary effort and become part
+of the life-blood of modern enlightenment. Their great effect has been
+formative: the cultivation of character in literature.
+
+
+
+2. HORACE AND LITERARY CREATION
+
+_i_. THE TRANSLATOR'S IDEAL
+
+Besides the invisible, and the greatest, effect of Horace in the
+moulding of character in literature, is the visible effect in literary
+creation. His inspiration wrought by performance as well as by precept.
+The numerous essays in verse and prose on the art of letters which have
+been prompted by the _Ars Poetica_ are themselves examples of this
+effect. They are not alone, however, though perhaps the most apparent.
+The purer literature of the lyric also inspired to creation, with
+results that are far more charming, if less substantial.
+
+In the case of the lyric inspired by the _Odes_, as well as in the case
+of the critical essay inspired by the _Ars Poetica_, it is not always
+easy to distinguish adaptation or imitation from actual creation.
+Bernardo Tasso's _Ode_, for example, and Giovanni Prati's _Song of
+Hygieia_, while really independent poems, are so charged with Horatian
+matter and spirit that one hesitates to call them original. The same is
+true of the many inspirations traceable to the famous _Beatus Ille
+Epode_, which, with such _Odes_ as _The Bandusian Spring_, _Pyrrha_,
+_Phidyle_, and _Chloe_, have captured the fancy of modern poets. Pope's
+_Solitude_, on the other hand, while surely an inspiration of the second
+_Epode_, shows hardly a mark affording proof of the fact.
+
+To some of the most manifest imitations and adaptations, it is
+impossible to deny originality. The _Fifth Book of Horace_, by Kipling
+and Graves, is an example. Thackeray's delightful _Ad Ministram_ is
+another example which must be classed as adaptation, yet such is its
+spontaneity that not to see in it an inspiration would be stupid and
+unjust:
+
+
+AD MINISTRAM
+
+  D_ear Lucy, you know what my wish is_--
+    I_ hate all your Frenchified fuss_:
+  Y_our silly entrees and made dishes_
+    W_ere never intended for us_.
+  N_o footman in lace and in ruffles_
+    N_eed dangle behind my arm-chair_;
+  A_nd never mind seeking for truffles_
+    A_lthough they be ever so rare_.
+
+  B_ut a plain leg of mutton, my Lucy_,
+    I_ prithee get ready at three_:
+  H_ave it smoking, and tender, and juicy_,
+    A_nd what better meat can there be?_
+  A_nd when it has feasted the master_,
+    'T_will amply suffice for the maid_;
+  M_eanwhile I will smoke my canaster_,
+    A_nd tipple my ale in the shade_.
+
+In similar strain of exquisite humor are the adaptations of the
+Whichers, American examples of spirit and skill not second to that of
+Thackeray:
+
+
+MY SABINE FARM
+
+LAUDABUNT ALII
+
+  S_ome people talk about "Noo Yo'k"_;
+    O_f Cleveland many ne'er have done_;
+  T_hey sing galore of Baltimore_,
+    C_hicago, Pittsburgh, Washington_.
+
+  O_thers unasked their wit have tasked_
+    T_o sound unending praise of Boston_--
+  O_f bean-vines found for miles around_
+    A_nd crooked streets that I get lost on_.
+
+  G_ive me no jar of truck or car_,
+    N_o city smoke and noise of mills_;
+  R_ather the slow Connecticut's flow_
+    A_nd sunny orchards on the hills_.
+
+  T_here like the haze of summer days_
+    B_efore the wind flee care and sorrow_.
+  I_n sure content each day is spent_,
+    U_nheeding what may come to-morrow_.
+
+
+VITAS HINNULEO
+
+DONE BY MR. WILLIAM WORDSWORTH
+
+  I _met a little Roman maid_;
+    S_he was just sixteen (she said)_,
+  A_nd O! but she was sore afraid_,
+    A_nd hung her modest head_.
+
+  A _little fawn, you would have vowed_,
+    T_hat sought her mother's side_,
+  A_nd wandered lonely as a cloud_
+    U_pon the mountain wide_.
+
+  W_hene'er the little lizards stirred_
+    S_he started in her fear_;
+  I_n every rustling bush she heard_
+    S_ome awful monster near_.
+
+  "I_'m not a lion; fear not so_;
+    S_eek not your timid dam_."--
+  B_ut Chloe was afraid, and O!_
+    S_he knows not what I am_:
+
+    A creature quite too bright and good
+    To be so much misunderstood.
+
+Again, in Austin Dobson's exquisite _Triolet_, whether the inspiration
+of the poem itself is in Horace, or the inspiration, so far as Horace is
+concerned, lies in the choice of title after the verses were written, we
+must in either case confess a debt of great delight to the author of the
+_Ars Poetica_:
+
+
+URCEUS EXIT
+
+  I_ intended an Ode_,
+    A_nd it turned to a Sonnet_.
+  I_t began_ a la mode,
+  I_ intended an Ode_;
+  B_ut Rose crossed the road_
+  I_n her latest new bonnet_;
+    I_ intended an Ode_,
+  A_nd it turned to a Sonnet_.
+
+The same observation applies equally to the same author's _Iocosa Lyra_:
+
+
+IOCOSA LYRA
+
+  I_n our hearts is the great one of Avon_
+                                E_ngraven_,
+  A_nd we climb the cold summits once built on_
+                                B_y Milton_;
+
+  B_ut at times not the air that is rarest_
+                                I_s fairest_,
+  A_nd we long in the valley to follow_
+                                A_pollo_.
+
+  T_hen we drop from the heights atmospheric_
+                                T_o Herrick_,
+  O_r we pour the Greek honey, grown blander_,
+                                O_f Landor_,
+
+  O_r our cosiest nook in the shade is_
+                                W_here Praed is_,
+  O_r we toss the light bells of the mocker_
+                                W_ith Locker_.
+
+  O_ the song where not one of the Graces_
+                                T_ightlaces_,--
+  W_here we woo the sweet Muses not starchly_,
+                                B_ut archly_,--
+
+  W_here the verse, like a piper a-Maying_
+                                C_omes playing_,--
+  A_nd the rhyme is as gay as a dancer_
+                                I_n answer_,--
+
+  I_t will last till men weary of pleasure_
+                                I_n measure!_
+  I_t will last till men weary of laughter_ ...
+                                A_nd after!_
+
+Whatever we may say of the indebtedness of things like these to the
+letter of the ancient poet, we must acknowledge them all alike as
+examples of the dynamic power of Horace.
+
+
+_ii_. CREATION
+
+But there are other examples whose character as literary creation is
+still farther beyond question. Such a one, to mention one brilliant
+specimen in prose, is the letter of Andrew Lang to Horace. In verse,
+Austin Dobson again affords one of the happiest examples:
+
+
+TO Q.H.F.
+
+  "H_oratius Flaccus_, B.C. 8,"
+  T_here's not a doubt about the date_,--
+      Y_ou're dead and buried_:
+  A_s you observed, the seasons roll_;
+  A_nd 'cross the Styx full many a soul_
+      H_as Charon ferried_,
+  S_ince, mourned of men and Muses nine_,
+  T_hey laid you on the Esquiline_.
+
+  A_nd that was centuries ago!_
+  Y_ou'd think we'd learned enough, I know_,
+      T_o help refine us_,
+  S_ince last you trod the Sacred Street_,
+  A_nd tacked from mortal fear to meet_
+      T_he bore Crispinus_;
+  O_r, by your cold Digentia, set_
+  T_he web of winter birding-net_.
+
+  O_urs is so far-advanced an age!_
+  S_ensation tales, a classic stage_,
+      C_ommodious villas!_
+  W_e boast high art, an Albert Hall_,
+  A_ustralian meats, and men who call_
+      T_heir sires gorillas!_
+  W_e have a thousand things, you see_,
+  N_ot dreamt in your philosophy_.
+
+  A_nd yet, how strange! Our "world," today_,
+  T_ried in the scale, would scarce outweigh_
+      Y_our Roman cronies_;
+  W_alk in the Park,--you'll seldom fail_
+  T_o find a Sybaris on the rail_
+      B_y Lydia's ponies_,
+  O_r hap on Barrus, wigged and stayed_,
+  O_gling some unsuspecting maid_.
+
+  T_he great Gargilius, then, behold!_
+  H_is "long-bow" hunting tales of old_
+      A_re now but duller_;
+  F_air Neobule too! Is not_
+  O_ne Hebrus here,--from Aldershot?_
+      A_ha, you colour!_
+  B_e wise. There old Canidia sits_;
+  N_o doubt she's tearing you to bits_.
+
+  A_nd look, dyspeptic, brave, and kind_,
+  C_omes dear Maecenas, half behind_
+      T_erentia's skirting_;
+  H_ere's Pyrrha, "golden-haired" at will_;
+  P_rig Damasippus, preaching still_;
+      A_sterie flirting_,--
+  R_adiant, of course. We'll make her black_,--
+  A_sk her when Gyges' ship comes back_.
+
+  S_o with the rest. Who will may trace_
+  B_ehind the new each elder face_
+      D_efined as clearly_;
+  S_cience proceeds, and man stands still_;
+  O_ur "world" today's as good or ill_,--
+      A_s cultured_ (_nearly_),
+  A_s yours was, Horace! You alone_,
+  U_nmatched, unmet, we have not known_.
+
+But it is not only to comparatively independent creation that we must
+look. The dynamic power of Horace is to be found at work even in the
+translation of the poet. The fact that he has had more translators than
+any other poet, ancient or modern, is itself an evidence of
+inspirational quality, but a greater proof lies in the variety and
+character of his translators and the quality of their achievement. A
+list of those who have felt in this way the stirrings of the Horatian
+spirit would include the names not only of many great men of letters,
+but of many great men of affairs, whose successes are to be counted
+among examples of genuine inspiration. Translation at its best is not
+mere craftsmanship, but creation,--in Roscommon's lines,
+
+  'T_is true, composing is the Nobler Part_,
+  B_ut good Translation is no easy Art_.
+
+Theodore Martin's rendering of I. 21, _To a Jar of Wine_, already quoted
+in part, is an example. Another brilliant success is Sir Stephen E. De
+Vere's I. 31, _Prayer to Apollo_, quoted in connection with the poet's
+religious attitude. No less felicitous are Conington's spirited twelve
+lines, reproducing III. 26, _Vixi puellis_:
+
+
+VIXI PUELLIS NUPER IDONEUS
+
+  F_or ladies' love I late was fit_,
+    A_nd good success my warfare blest_;
+  B_ut now my arms, my lyre I quit_,
+    A_nd hang them up to rust or rest_.
+  H_ere, where arising from the sea_
+    S_tands Venus, lay the load at last_,
+  L_inks, crowbars, and artillery_,
+    T_hreatening all doors that dared be fast_.
+  O_ Goddess! Cyprus owns thy sway_,
+    A_nd Memphis, far from Thracian snow_:
+  R_aise high thy lash, and deal me, pray_,
+    T_hat haughty Chloe just one blow!_
+
+To translate in this manner is beyond all doubt to deserve the name of
+poet.
+
+We may go still farther and claim for Horace that he has been a dynamic
+power in the art of translation, not only as it concerned his own poems,
+but in its concern of translation as a universal art. No other poet
+presents such difficulties; no other poet has left behind him so long a
+train of disappointed aspirants. "Horace remains forever the type of the
+untranslatable," says Frederic Harrison. Milton attempts the _Pyrrha_
+ode in unrhymed meter, and the light and bantering spirit of Horace
+disappears. Milton is correct, polished, restrained, and pure, but heavy
+and cold. An exquisite _jeu d'esprit_ has been crushed to death:
+
+  W_hat slender youth, bedew'd with liquid odours_,
+  C_ourts thee on roses in some pleasant cave_,
+      P_yrrha? For whom bind'st thou_
+      I_n wreaths thy golden hair_,
+  P_lain in thy neatness? O how oft shall he_
+  O_n faith and changed gods complain, and seas_
+      R_ough with black winds and storms_
+      U_nwonted shall admire_!
+  W_ho now enjoys thee credulous, all gold_,
+  W_ho, always vacant, always amiable_
+      H_opes thee, of flattering gales_
+      U_nmindful! Hapless they_
+  T_o whom thou untried seem'st fair! Me in my vowed_
+  P_icture, the sacred wall declares to have hung_
+      M_y dank and dropping weeds_
+      T_o the stern God of Sea_.
+
+But let the attempt be made to avoid the ponderous movement and
+excessive sobriety of Milton, and to communicate the Horatian airiness,
+and there is a loss in conciseness and reserve:
+
+  W_hat scented youth now pays you court_,
+    P_yrrha, in shady rose-strewn spot_
+  D_allying in love's sweet sport_?
+    F_or whom that innocent-seeming knot_
+  I_n which your golden strands you dress_
+  W_ith all the art of artlessness?_
+
+  D_eluded lad! How oft he'll weep_
+    O_'er changed gods! How oft, when dark_
+  T_he billows roughen on the deep_,
+    S_torm-tossed he'll see his wretched bark_!
+  U_nused to Cupid's quick mutations_,
+  I_n store for him what tribulations!_
+
+  B_ut now his joy is all in you_;
+    H_e thinks your heart is purest gold_;
+  E_xpects you'll always be love-true_,
+    A_nd never, never, will grow cold_.
+  P_oor mariner on summer seas_,
+  U_ntaught to fear the treacherous breeze!_
+
+  A_h, wretched whom your Siren call_
+    D_eludes and brings to watery woes_!
+  F_or me--yon plaque on Neptune's wall_
+    S_hows I've endured the seaman's throes_.
+  M_y drenched garments hang there, too_:
+  H_enceforth I shun the enticing blue._
+
+It is not improbable that the struggle of the centuries with the
+difficulties of rendering Horace has been a chief influence in the
+development of our present exacting ideal of translation; so exacting
+indeed that it has defeated its purpose. By emphasis upon the
+impossibility of rendering accurately the content of poetry in the form
+of poetry, scholastic discussion of the theory of translation has led
+first to despair, and next from despair to the scientific and
+unaesthetic principle of rendering into exact prose all forms of
+literature alike. The twentieth century has thus opened again and
+settled in opposite manner the old dispute of the French D'Alembert and
+the Italian Salvini in the seventeen-hundreds, which was resolved by
+actual results in favor of D'Alembert and fidelity to spirit as opposed
+to Salvini and fidelity to letter.
+
+In what we have said thus far of the dynamic power of Horace in literary
+creation, we have dealt with visible results. We should not be misled,
+however, by the satisfaction of seeing plainly in imitation, adaptation,
+translation, quotation, or real creation, the mark of Horatian
+influence. The discipline of the literary ideal in the individual, and
+the moulding of character in literature as an organism, are effects less
+clearly visible, but, after all, of greater value. If the bread and meat
+of human sustenance should appear in the body as recognizable bread and
+meat, it would hardly be a sign of health. Its value is in the strength
+conferred by assimilation. With all respect and gratitude for creation
+manifestly due to Horace, we must also realize that this is but a
+superficial result as compared with the chastening restraint of
+expression and the health and vigor of content that have been encouraged
+by allegiance to him, but are known by no special marks. It is no bad
+sign when we turn the pages of the _Oxford Selections of Verse_ in the
+various modern languages and find but few examples of the visible sort
+of Horatian influence. To detect the more invisible sort requires the
+keen eye and the sensitive spirit of the poet-scholar, but the reader
+not so specially qualified may have faith that it exists. With Goethe
+writing of Horace as a "great, glowing, noble poet, full of heart, who
+with the power of his song sweeps us along, lifts us, and inspires us,"
+with Menendez y Pelayo in Spain defining the Horatian lyric, whether
+Christian or pagan, by "sobriety of thought, rhythmic lightness, the
+absence of artificial adornment, unlimited care in execution, and
+brevity," and holding this ideal aloft as the influence needed by the
+modern lyric, and with no countries or periods without leaders in poetry
+and criticism uttering similar sentiments and exhortations, it would be
+difficult not to believe in a substantial Horatian effect on literary
+culture, however slight the external marks.
+
+
+3. HORACE IN THE LIVING OF MEN
+
+Let us take leave of these illustrations of the dynamic power of Horace
+in letters, and consider in conclusion his power as shown directly in
+the living of men.
+
+First of all, we may include in the dynamic working of the poet his
+stirring of the heart by pure delight. If this is not the highest and
+the ultimate effect of poetry, it is after all the first and the
+essential effect. Without the giving of pleasure, no art becomes really
+the possession of men and the instrument of good. As a matter of fact,
+many of the most frequently and best translated _Odes_ are devoid both
+of moral intent, and, in the ordinary sense, of moral effect. _To
+Pyrrha_, _Soracte Covered with Snow_, _Carpe Diem_, _To Glycera_,
+_Integer Vitae_, _To Chloe_, _Horace and Lydia_, _The Bandusian Spring_,
+_Faunus_, _To an Old Wine-Jar_, _The End of Love_, and _Beatus Ille_ are
+merely _jeux-d'esprit_ of the sort that for the moment lighten and clear
+the spirit. The same may be said of _The Bore_ and the _Journey to
+Brundisium_ among the _Satires_, and of many of the _Epistles_.
+
+But these trifles light as air are nevertheless of the sort for which
+mankind is eternally grateful, because men are convinced, without
+process of reason, that by them the fibre of life is rested and refined
+and strengthened. We may call this familiar effect by the less familiar
+name of re-creative. What lover of Horace has not felt his inmost being
+cleansed and refreshed by the simple and exquisite art of _The Bandusian
+Spring_, whose cameo of sixty-eight Latin words in four stanzas is an
+unapproachable model of vividness, elegance, purity, and restraint:
+
+  O_ crystal-bright Bandusian Spring_,
+    W_orthy thou of the mellow wine_
+  A_nd flowers I give to thy pure depths_:
+    A_ kid the morrow shall be thine_.
+
+  T_he day of lustful strife draws on_,
+    T_he starting horn begins to gleam_;
+  I_n vain! His red blood soon shall tinge_
+    T_he waters of thy clear, cold stream_.
+
+  T_he dog-star's fiercely blazing hour_
+    N_e'er with its heat doth change thy pool_;
+  T_o wandering flock and ploughworn steer_
+    T_hou givest waters fresh and cool_.
+
+  T_hee, too, 'mong storied founts I'll place_,
+    S_inging the oak that slants the steep_,
+  A_bove the hollowed home of rock_
+    F_rom which thy prattling streamlets leap_.
+
+Or who does not live more abundant life at reading the _Chloe Ode_, with
+its breath of the mountain air and its sense of the brooding forest
+solitude, and its exquisite suggestion of timid and charming girlhood?
+
+  "Y_ou shun me, Chloe, wild and shy_
+    A_s some stray fawn that seeks its mother_
+  T_hrough trackless woods. If spring-winds sigh_,
+    I_t vainly strives its fears to smother_;--
+
+  "I_ts trembling knees assail each other_
+    W_hen lizards stir the bramble dry_;--
+    Y_ou shun me, Chloe, wild and shy_
+  A_s some stray fawn that seeks its mother_.
+
+  "A_nd yet no Libyan lion I_,--
+    N_o ravening thing to rend another_;
+  L_ay by your tears, your tremors by_,--
+    A_ husband's better than a brother_;
+  N_or shun me, Chloe, wild and shy_
+    A_s some stray fawn that seeks its mother_."
+
+But there are those who demand of poetry a usefulness more easily
+measurable than that of recreation. In their opinion, it is improvement
+rather than pleasure which is the end of art, or at least improvement as
+well as pleasure. In this, indeed, the poet himself is inclined to
+agree: "He who mingles the useful with the pleasant by delighting and
+likewise improving the reader, will get every vote."
+
+Let us look for these more concrete results, and see how Horace the
+person still lives in the character of men, as well as Horace the poet
+in the character of literature.
+
+To appreciate this better, we must return to the theme of Horace's
+personal quality. We have already seen that in no other poet so fully as
+in Horace is the reality of personal contact to be felt. The lyrics, as
+well as the _Epistles_ and _Satires_, are almost without exception
+addressed to actual persons. So successful is this attempt of the poet
+to speak from the page that it needs but the slightest touch of
+imagination to create the illusion that we ourselves are addressed. We
+feel, as if at first hand, all the qualities that went to make up
+Horace's character,--his good will, good faith, and good-nature, the
+depth and constancy of his friendship, his glow of admiration for the
+brave deed, the pure heart, and the steadfast purpose, his patient
+endurance of ill, his delight in men and things, his affection for what
+is simple and sincere, his charity for human weakness, his mildly
+ironical mood, as of one who is aware that he himself is not undeserving
+of the good-humored censure he passes on others, his clear vision of the
+sources of happiness, his reposeful acquiescence, and his elusive humor,
+which never bursts into laughter and yet is never far away from it. We
+are taken into his confidence, like old friends. He describes himself
+and his ways; he lets us share in his own vision of himself and in his
+amusement at the bustling and self-deluded world, and subtly conciliates
+us by making us feel ourselves partakers with him in the criticism of
+life. There is no better example in literature of personal magnetism.
+
+And he is more than merely personal. He is sincere and unreserved. Were
+he otherwise, the delight of intimate acquaintance with him would be
+impossible. It is the real Horace whom we meet,--not a person on the
+literary stage, with buskins, pallium, and mask. Horace holds the mirror
+up to himself; rather, not to himself, but to nature in himself. Every
+side of his personality appears: the artist, and the man; the formalist,
+and the skeptic; the spectator, and the critic; the gentleman in
+society, and the son of the collector; the landlord of five hearths, and
+the poet at court; the stern moralist, and the occasional voluptuary;
+the vagabond, and the conventionalist. He is independent and unhampered
+in his expression. He has no exalted social position to maintain, and
+blushes neither for parentage nor companions. His philosophy is not
+School-made, and the fear of inconsistency never haunts him. His
+religion requires no subscription to dogma; he does not even take the
+trouble to define it. Politically, his duties have come to be also his
+desires. He will accept the favors of the Emperor and his ministers if
+they do not compromise his liberty or happiness. If they withdraw their
+gifts, he knows how to do without them, because he has already done
+without them. He conceals nothing, pretends to nothing, makes no
+excuses, suffers from no self-consciousness, exercises no reserve. There
+are few expressions of self in all literature so spontaneous and so
+complete. Horace has left us a portrait of his soul much more perfect
+than that of his person. It is a truthful portrait, with both shadow and
+light.
+
+And there is a corollary to Horace's frankness that constitutes another
+element in the charm of his personality. His very unreserve is the proof
+of an open and kindly heart. To call him a satirist at all is to
+necessitate his own definition of satire, "smilingly to tell the truth."
+At least in his riper work, there is no trace of bitterness. He laughs
+with some purpose and to some purpose, but his laughter is not sardonic.
+Sane judgment and generous experience tell him that the foibles of
+mankind are his own as well as theirs, and are not to be changed by so
+slight a means as a railing tongue. He reflects that what in himself has
+produced no very disastrous results may without great danger be forgiven
+also in them.
+
+It is this intimate and warming quality in Horace that prompts Hagedorn
+to call him "my friend, my teacher, my companion," and to take the poet
+with him on country walks as if he were a living person:
+
+  Horaz, mein Freund, mein Lehrer, mein Begleiter,
+  Wir gehen aufs Land. Die Tage sind so heiter;
+
+and Nietzsche to compare the atmosphere of the _Satires_ and _Epistles_
+to the "geniality of a warm winter day"; and Wordsworth to be attracted
+by his appreciation of "the value of companionable friendship"; and
+Andrew Lang to address to him the most personal of literary letters; and
+Austin Dobson to give his Horatian poems the form of personal address;
+and countless students and scholars and men out of school and immersed
+in the cares of life to carry Horace with them in leisure hours. _Circum
+praecordia ludit_, "he plays about the heartstrings," said Persius, long
+before any of these, when the actual Horace was still fresh in the
+memory of men.
+
+If we were to take detailed account of certain qualities missed in
+Horace by the modern reader, we should be even more deeply convinced of
+his power of personal attraction. He is not a Christian poet, but a
+pagan. Faith in immortality and Providence, penitence and penance, and
+humanitarian sentiment, are hardly to be found in his pages. He is
+sometimes too unrestrained in expression. The unsympathetic or
+unintelligent critic might charge him with being commonplace.
+
+Yet these defects are more apparent than real, and have never been an
+obstacle to souls attracted by Horace. His pages are charged with
+sympathy for men. His lapses in taste are not numerous, and are, after
+all, less offensive than those of European letters today, after the
+coming of sin with the law. And he is not commonplace, but universal.
+His content is familiar matter of today as well as of his own time. His
+delightful natural settings are never novel, romantic, or forced; we
+have seen them all, in experience or in literature, again and again, and
+they make familiar and intimate appeal. Phidyle is neither ancient nor
+modern, Latin nor Teuton; she is all of them at once. The exquisite
+expressions of friendship in the odes to a Virgil, or a Septimius, are
+applicable to any age or nationality, or any person. The story of the
+town mouse and country mouse is always old and always new, and always
+true. _Mutato nomine de te_ may be said of it, and of all Horace's other
+stories; alter the names, and the story is about you. Their application
+and appeal are universal.
+
+"Without sustained inspiration, without profundity of thought, without
+impassioned song," writes Duff, "he yet pierces to the universal
+heart.... His secret lies in sanity rather than impetus. Kindly and
+shrewd observer of the manifold activities of life, he draws vignettes
+therefrom and passes judgments thereon which awaken undying interest.
+_Non omnis moriar_--he remains fresh because he is human."
+
+Horace's philosophy of life may be imperfect for the militant
+humanitarian and the Christian, but, as a matter of fact, it is a
+complete and perfect thing in itself. Horace does not fret or fume. He
+is not morbid or unpleasantly melancholy. It is true that "his tempered
+and polished expression of common experience, free from transports and
+free from despairs, speaks more forcibly to ripe middle age than to
+youth," but it is not without its appeal also to youth. Horace sums up
+an attitude toward existence which all men, of whatever nation or time,
+can easily understand, and which all, at some moment or other,
+sympathize with. Whether they believe in his philosophy of life or not,
+whether they put it into practice or not, it is always and everywhere
+attractive,--attractive because founded on clear and sympathetic vision
+of the joys and sorrows that are the common lot of men, attractive
+because of its frankness and manly courage, and, above all, attractive
+because of its object. So long as the one great object of human longing
+is peace of mind and heart, no philosophy which recognizes it will be
+without followers. The Christian is naturally unwilling to adopt the
+Horatian philosophy as a whole, but with its _summum bonum_, and with
+many of its recommendations, he is in perfect accord. Add Christian
+faith to it, or add it, so far as is consonant, to Christian faith, and
+either is enriched.
+
+We are better able now to appreciate the dynamic power of Horace the
+person. We may see it at work in the fostering of friendly affection, in
+the deepening of love for favorite spots of earth, in the encouragement
+of righteous purpose, in the true judging of life's values.
+
+Horace is the poet of friendship. With his address to "Virgil, the half
+of my soul," his references to Plotius, Varius, and Virgil as the purest
+and whitest souls of earth, his affectionate messages in _Epistle_ and
+_Ode_, he sets the heart of the reader aglow with love for his friends.
+"Nothing, while in my right mind, would I compare to the delight of a
+friend!" What numbers of men have had their hearts stirred to deeper
+love by the matchless ode to Septimius:
+
+  "S_eptimius, who with me would brave_
+    F_ar Gades, and Cantabrian land_
+  U_ntamed by Rome, and Moorish wave_
+    T_hat whirls the sand_;
+
+  "F_air Tibur, town of Argive kings_,
+    T_here would I end my days serene_,
+  A_t rest from seas and travelings_,
+    A_nd service seen_.
+
+  "S_hould angry Fate those wishes foil_,
+    T_hen let me seek Galesus, sweet_
+  T_o skin-clad sheep, and that rich soil_,
+    T_he Spartan's seat_.
+
+  "O_h, what can match the green recess_,
+    W_hose honey not to Hybla yields_,
+  W_hose olives vie with those that bless_
+   V_enafrum's fields_?
+
+  "L_ong springs, mild winters glad that spot_
+    B_y Jove's good grace, and Aulon, dear_
+  T_o fruitful Bacchus, envies not_
+    F_alernian cheer_.
+
+  "T_hat spot, those happy heights desire_
+    O_ur sojourn; there, when life shall end_,
+  Y_our tear shall dew my yet warm pyre_,
+    Y_our bard and friend_."
+
+And what numbers of men have taken to their hearts from the same ode the
+famous
+
+  Ille terrarum mihi praeter omnes
+  Angulus ridet,--
+
+  Y_onder little nook of earth_
+  B_eyond all others smiles on me_,--
+
+and expressed through its perfect phrase the love they bear their own
+beloved nook of earth. "Happy Horace!" writes Sainte-Beuve on the margin
+of his edition, "what a fortune has been his! Why, because he once
+expressed in a few charming verses his fondness for the life of the
+country and described his favorite corner of earth, the lines composed
+for his own pleasure and for the friend to whom he addressed them have
+laid hold on the memory of all men and have become so firmly lodged
+there that one can conceive no others, and finds only those when he
+feels the need of praising his own beloved retreat!"
+
+To speak of sterner virtues, what a source of inspiration to
+righteousness and constancy men have found in the apt and undying
+phrases of Horace! "Cornelius de Witt, when confronting the murderous
+mob; Condorcet, perishing in the straw of his filthy cell; Herrick, at
+his far-away old British revels; Leo, during his last days at the
+Vatican, and a thousand others," strengthened their resolution by
+repeating _Iustum et tenacem_:
+
+  "T_he man of firm and noble soul_
+    N_o factious clamors can control_
+    N_o threat'ning tyrant's darkling brow_
+      C_an swerve him from his just intent_....
+    A_y, and the red right arm of Jove_,
+    H_urtling his lightnings from above_,
+    W_ith all his terrors then unfurl'd_,
+      H_e would unmoved, unawed behold_:
+    T_he flames of an expiring world_
+      A_gain in crashing chaos roll'd_,
+    I_n vast promiscuous ruin hurl'd_,
+    M_ust light his glorious funeral pile_:
+  S_till dauntless midst the wreck of earth he'd smile_."
+
+Of this passage Stemplinger records thirty-one imitations. How many have
+had their patriotism strengthened by _Dulce et decorum est pro patria
+mori_, the verse which is aptly found in modern Rome on the monument to
+those who fell at Dogali. How many have been supported and comforted in
+calamity and sorrow by the poet's immortal words of consolation on the
+death of Quintilius:
+
+  Durum: sed levius fit patientia
+    Quicquid corrigere est nefas,--
+
+  A_h, hard it is! but patience lends_
+  S_trength to endure what Heaven sends_.
+
+The motto of Warren Hastings was _Mens aequa in arduis_,--An even temper
+in times of trial. Even humorous use of these phrases has served a
+purpose. The French minister, compelled to resign, no doubt drew
+substantial consolation from _Virtute me involvo_, when he turned it to
+fit his case:
+
+  I_n the robe of my virtue I wrap me round_
+    A _solace for loss of all I had_;
+  B_ut ah! I realize I've found_
+    W_hat it really means to be lightly clad_!
+
+But the most pronounced effect of Horace's dynamic power is its
+inspiration to sane and truthful living. Life seems a simple thing, yet
+there are many who miss the paths of happiness and wander in wretched
+discontent because they are not bred to distinguish between the false
+and the real. We have seen the lesson of Horace: that happiness is not
+from without, but from within; that it is not abundance that makes
+riches, but attitude; that the acceptation of worldly standards of
+getting and having means the life of the slave; that the fraction is
+better increased by division of the denominator than by multiplying the
+numerator; that unbought riches are better possessions than those the
+world displays as the prizes most worthy of striving for. No poet is so
+full of inspiration as Horace for those who have glimpsed these simple
+and easy yet little known secrets of living. Men of twenty centuries
+have been less dependent on the hard-won goods of this world because of
+him, and lived fuller and richer lives. Surely, to give our young people
+this attractive example of sane solution of the problem of happy living
+is to leaven the individual life and the life of the social mass.
+
+
+
+
+IV. CONCLUSION
+
+
+We have visualized the person of Horace and made his acquaintance. We
+have seen in his character and in the character of his times the sources
+of his greatness as a poet. We have seen in him the interpreter of his
+own times and the interpreter of the human heart in all times. We have
+traced the course of his influence through the ages as both man and
+poet. We have seen in him not only the interpreter of life, but a
+dynamic power that makes for the love of men, for righteousness, and for
+happier living. We have seen in him an example of the word made flesh.
+"He has forged a link of union," writes Tyrrell, "between intellects so
+diverse as those of Dante, Montaigne, Bossuet, La Fontaine, Voltaire,
+Hooker, Chesterfield, Gibbon, Wordsworth, Thackeray."
+
+To know Horace is to enter into a great communion of twenty
+centuries,--the communion of taste, the communion of charity, the
+communion of sane and kindly wisdom, the communion of the genuine, the
+communion of righteousness, the communion of urbanity and of friendly
+affection.
+
+"Farewell, dear Horace; farewell, thou wise and kindly heathen; of
+mortals the most human, the friend of my friends and of so many
+generations of men."
+
+
+
+
+NOTES AND BIBLIOGRAPHY
+
+
+The following groups of references are not meant as annotations in the
+usual sense. Those to the text of the poet are for such persons as wish
+to increase their acquaintance with Horace by reading at first hand the
+principal poems which have inspired the essayist's conclusions. The
+others are for those who desire to view in detail the working of the
+Horatian influence.
+
+  HORACE THE PERSON:
+    _Odes_, I. 27; 38; II. 3; 7; III. 8; IV. 11.
+    _Satires_, I. 6; 9; II. 6.
+    _Epistles_, I. 7; 10; 20.
+    Suetonius, _Life of Horace_. (see below.)
+
+  HORACE THE POET:
+    _Odes_, I. 1; 3; 6; 12; 24; 35; II. 7; 16; III. 1; 21; 29; IV. 2; 3; 4.
+    _Satires_, I. 4; 6.
+    _Epistles_, I. 3; 20; II. 2.
+
+  HORACE THE INTERPRETER OF HIS TIMES:
+    Landscape;
+      _Odes_, I. 4; 31; II. 3; 6; 14; 15; III. 1; 13; 18; 23.
+      _Epistles_, I. 12; 14.
+    Living;
+      _Odes_, I. 1; III. 1; 2; 4; 6; IV. 5; _Epode_, 2.
+      _Satires_, I. 1; II. 6.
+      _Epistles_, I. 7; 10.
+    Religion;
+      _Odes_, I. 4; 10; 21; 30; 31; 34; III. 3; 13; 16; 18; 22; 23; IV.
+        5; 6; _Epode_, 2.
+    Popular Wisdom;
+      _Epistle_, I. 1; 4; II. 2.
+
+  HORACE THE PHILOSOPHER OF LIFE:
+    The Spectator and Essayist; _Satires_, I. 4; II. 1.
+    The Vanity of Human Wishes;
+      _Odes_, I. 4; 24; 28; II. 13; 14; 16; 18; III. 1; 16; 24; 29; IV. 7.
+      _Satires_, I. 4; 6.
+      _Epistles_, I. 1.
+    The Pleasures of this World;
+      _Odes_, I. 9; 11; 24; II. 3; 14; III. 8; 23; 29; IV. 12.
+      _Epistles_, I. 4.
+    Life and Morality;
+      _Odes_, I. 5; 18; 19; 27; III. 6; 21; IV. 13.
+      _Epistles_, I. 2; II. 1.
+    Life and Purpose;
+      _Odes_, I. 12; II. 2; 15; III. 2; 3; IV. 9; _Epode_, 2.
+      _Satires_, I. 1.
+      _Epistles_, I. 1.
+    The Sources of Happiness;
+      _Odes_, I. 31; II. 2; 16; 18; III. 16; IV. 9.
+      _Satires_, I. 1; 6; II. 6.
+      _Epistles_, I. 1; 2; 6; 10; 11; 12; 14; 16.
+
+  HORACE THE PROPHET:
+    _Odes_, II. 20; III. 1; 4; 30; IV. 2; 3.
+
+  HORACE AND ANCIENT ROME:
+    _Odes_, IV. 3.
+    _Epistles_, I. 20.
+    Suetonius, _Vita Horati, Life of Horace_, Translation, J.C. Rolfe,
+        in _The Loeb Classical Library_, New York, 1914.
+    Hertz, Martin, _Analecta ad carminum Horatianorum Historiam_, i-v.
+        Breslau, 1876-82.
+    Schanz, Martin, _Geschichte der Roemischen Litteratur_. Muenchen, 1911.
+
+  HORACE AND THE MIDDLE AGE:
+    Manitius, Maximilian, _Analekten zur Geschichte des Horaz im
+        Mittelalter, bis 1300_. Goettingen, 1893.
+
+  HORACE AND MODERN TIMES:
+    In Italy;
+      Curcio, Gaetano Gustavo, _Q. Orazio Flacco, studiato in Italia dal
+        secolo XIII al XVIII_. Catania, 1913.
+    In France and Germany;
+      Imelmann, J., _Donec gratus eram tibi, Nachdichtungen und
+        Nachklaenge aus drei Jahrhunderten_. Berlin, 1899.
+      Stemplinger, Eduard, _Das Fortleben der Horazischen Lyrik seit der
+        Renaissance_. Leipzig, 1906.
+    In Spain;
+      Menendez y Pelayo, D. Marcelino, _Horacio en Espana_, 2 vols.
+        Madrid, 1885.[2]
+    In England;
+      Goad, Caroline, _Horace in the English Literature of the Eighteenth
+        Century_. New Haven, 1918.
+      Myers, Weldon T., _The Relations of Latin and English as Living
+        Languages in England during the Age of Milton_. Dayton, Virginia,
+        1913.
+      Nitchie, Elizabeth, "Horace and Thackeray," in _The Classical
+        Journal_, XIII. 393-410 (1918).
+      Shorey, Paul, and Laing, Gordon J., _Horace: Odes and Epodes_
+        (Revised Edition). Boston, 1910.
+      Thayer, Mary R., _The Influence of Horace on the Chief English
+        Poets of the Nineteenth Century_. New Haven, 1916.
+
+  HORACE THE DYNAMIC:
+    _Ars Poetica._
+    Cowl, R.P., _The Theory of Poetry in England; its development in
+        doctrines and ideas from the sixteenth century to the nineteenth
+        century_. London, 1914.
+    Dobson, Henry Austin, _Collected Poems_, Vol. I, 135, 181, 219, 222,
+        224, 231, 236, 245, 263; II. 66, 83, 243, etc. London, 1899.
+    Gladstone, W.E., _The Odes of Horace_, English Verse Translation.
+        New York, 1901.
+    Kipling, Rudyard, et Graves, C.L., _Q. Horati Flacci Carminum Liber
+        Quintus_. New Haven, 1920.[3]
+    Lang, Andrew, _Letters to Dead Authors_. New York, 1893.
+    Martin, Sir Theodore, _The Odes of Horace_; translated into English
+          verse. London, 1861.[2]
+    Untermeyer, Louis, "_--and Other Poets_." New York, 1916.
+    Whicher, G.M. and G.F., _On the Tibur Road, a Freshman's Horace_.
+          Princeton, 1912.
+
+Besides the works mentioned above, reference should be made to:
+
+  CAMPAUX, A., _Des raisons de la popularite d'Horace en France_. Paris,
+        1895.
+  D'ALTON, J.F., _Horace and His Age_. London, 1917.
+  MCCREA, N.G., _Horatian Criticism of Life_. New York, 1917.
+  STEMPLINGER, EDUARD, _Horaz im Urteil der Jahrhunderte_. Leipzig,
+        1921.
+  TAYLOR, HENRY OSBORN, _The Classical Heritage of the Middle Ages_. New
+        York, 1903.[2]
+  _The Century Horace._
+
+and, also, to the two following works, cited and quoted in the text:
+
+  DUFF, J. WIGHT, _A Literary History of Rome_. London, 1910.[2] (p.
+        545)
+  TYRRELL, R.Y., _Latin Poetry_. Boston, (lectures delivered at The
+        Johns Hopkins University, 1893). (p. 164)
+
+_Note_: Translations of Horace, not otherwise assigned or not enclosed
+in quotation marks, are those of G.S.
+
+
+
+
+Our Debt to Greece and Rome
+
+AUTHORS AND TITLES
+
+
+   1. HOMER. John A. Scott, Northwestern University.
+   2. SAPPHO. David M. Robinson, The Johns Hopkins University.
+  3A. EURIPIDES. F.L. Lucas, King's College, Cambridge.
+  3B. AESCHYLUS AND SOPHOCLES. J.T. Sheppard, King's College,
+        Cambridge.
+   4. ARISTOPHANES. Louis E. Lord, Oberlin College.
+   5. DEMOSTHENES. Charles D. Adams, Dartmouth College.
+   6. ARISTOTLE'S POETICS. Lane Cooper, Cornell University.
+   7. GREEK HISTORIANS. Alfred E. Zimmern, University of Wales.
+   8. LUCIAN. Francis G. Allinson, Brown University.
+   9. PLAUTUS AND TERENCE. Charles Knapp, Barnard College, Columbia
+        University.
+  10A. CICERO. John C. Rolfe, University of Pennsylvania.
+  10B. CICERO AS PHILOSOPHER. Nelson G. McCrea, Columbia University.
+  11. CATULLUS. Karl P. Harrington, Wesleyan University.
+  12. LUCRETIUS AND EPICUREANISM. George Depue Hadzsits, University of
+        Pennsylvania.
+  13. OVID. Edward K. Rand, Harvard University.
+  14. HORACE. Grant Showerman, University of Wisconsin.
+  15. VIRGIL. John William Mackail, Balliol College, Oxford.
+  16. SENECA. Richard Mott Gummere, The William Penn Charter School.
+  17. ROMAN HISTORIANS. G. Ferrero, Florence.
+  18. MARTIAL. Paul Nixon, Bowdoin College.
+  19. PLATONISM. Alfred Edward Taylor, University of Edinburgh.
+  20. ARISTOTELIANISM. John L. Stocks, University of Manchester,
+        Manchester.
+  21. Stoicism. Robert Mark Wenley, University of Michigan.
+  22. LANGUAGE AND PHILOLOGY. Roland G. Kent, University of
+        Pennsylvania.
+  23. RHETORIC AND LITERARY CRITICISM. (Greek) W. Rhys Roberts, Leeds
+        University.
+  24. GREEK RELIGION. Walter W. Hyde, University of Pennsylvania.
+  25. ROMAN RELIGION. Gordon J. Laing, University of Chicago.
+  26. MYTHOLOGIES. Jane Ellen Harrison, Newnham College, Cambridge.
+  27. THEORIES REGARDING THE IMMORTALITY OF THE SOUL. Clifford H. Moore,
+        Harvard University.
+  28. STAGE ANTIQUITIES. James T. Allen, University of California.
+  29. GREEK POLITICS. Ernest Barker, King's College, University of
+        London.
+  30. ROMAN POLITICS. Frank Frost Abbott, Princeton University.
+  31. ROMAN LAW. Roscoe Pound, Harvard Law School.
+  32. ECONOMICS AND SOCIETY. M.T. Rostovtzeff, Yale University.
+  33. WARFARE BY LAND AND SEA. E.S. McCartney, University of Michigan.
+  34. THE GREEK FATHERS. Roy J. Deferrari, The Catholic University of
+        America.
+  35. BIOLOGY AND MEDICINE. Henry Osborn Taylor, New York.
+  36. MATHEMATICS. David Eugene Smith, Teachers College, Columbia
+        University.
+  37. LOVE OF NATURE. H.R. Fairclough, Leland Stanford Junior
+        University.
+  38. ASTRONOMY AND ASTROLOGY. Franz Cumont, Brussels.
+  39. THE FINE ARTS. Arthur Fairbanks, Museum of Fine Arts, Boston.
+  40. ARCHITECTURE. Alfred M. Brooks, Swarthmore College.
+  41. ENGINEERING. Alexander P. Gest, Philadelphia.
+  42. GREEK PRIVATE LIFE, ITS SURVIVALS. Charles Burton Gulick, Harvard
+        University.
+  43. ROMAN PRIVATE LIFE, ITS SURVIVALS. Walton B. McDaniel, University
+        of Pennsylvania.
+  44. FOLK LORE.
+
+  45. GREEK AND ROMAN EDUCATION.
+
+  46. CHRISTIAN LATIN WRITERS. Andrew F. West, Princeton University.
+  47. ROMAN POETRY AND ITS INFLUENCE UPON EUROPEAN CULTURE. Paul Shorey,
+        University of Chicago.
+  48. PSYCHOLOGY.
+  49. MUSIC. Theodore Reinach, Paris.
+  50. ANCIENT AND MODERN ROME. Rodolfo Lanciani, Rome.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK HORACE AND HIS INFLUENCE***
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