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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> </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> </p> +<hr class="full" /> +<p> </p> +<p> </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">ΦΒΚ</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> </p> +<p> </p> + +<p>GEORGE G. HARRAP & 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> </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,—toil,—mirth,—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,—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,—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,—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,—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;—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,—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—</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,—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,—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—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,—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,—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,—"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.</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,—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,—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,—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,—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,—lands, home, beloved wife</i>,—</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,—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,—"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,—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,—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>,—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,—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,—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,—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,—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—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,—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.</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,—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,—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,—</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,—</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—</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,—"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,—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,—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>—</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>—</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>."—</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>,—</div> +<div class="i0"> W<i>here we woo the sweet Muses not starchly</i>,</div> +<div class="i3"> B<i>ut archly</i>,—</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>,—</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>,—</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>,—</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,—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,—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>,—</div> +<div class="i0"> R<i>adiant, of course. We'll make her black</i>,—</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>,—</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,—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—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>;—</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>;—</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>,—</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>,—</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,—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,—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>—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,—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,—</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>,—</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,—</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>,—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,—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> </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> </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> </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> </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> </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> </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> </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> </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>—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> </li> +<li> 45. <span class="sc">Greek and Roman Education.</span></li> +<li> </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> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK HORACE AND HIS INFLUENCE***</p> +<p>******* This file should be named 16801-h.txt or 16801-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="https://www.gutenberg.org/dirs/1/6/8/0/16801">https://www.gutenberg.org/1/6/8/0/16801</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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