Horace, by adopting, in the multiplicity of his subjects, almost all the various measures of the different Greek poets, and frequently combining different measures in the same composition, has compensated for the dialects of that tongue, so happily suited to poetry, and given to a language less distinguished for soft inflexions, all the tender and delicate modulations of the Eastern song. While he moves in the measures of the Greeks with an ease and gracefulness which rivals their own acknowledged excellence, he has enriched the fund of lyric harmony with a stanza peculiar to himself. In the artificial construction of the Ode, he may justly be regarded as the first of lyric poets. In beautiful imagery, he is inferior to none: in variety of sentiment and felicity of expression, superior to every existing competitor in Greek or Roman poetry. He is elegant without affectation; and what is more remarkable, in the midst of gaiety he is moral. We seldom meet in his Odes with the abrupt apostrophes of passionate excursion; but his transitions are conducted with ease, and every subject introduced with propriety.
The Carmen Seculare was written at the express desire of Augustus, for the celebration of the Secular Games, performed once in a hundred years, and which continued during three days and three nights, whilst all Rome resounded with the mingled effusions of choral addresses to gods and goddesses, and of festive joy. An occasion which so much interested the ambition of the poet, called into exertion the most vigorous efforts of his genius. More concise in mythological attributes than the hymns ascribed to Homer, this beautiful production, in variety and grandeur of invocation, and in pomp of numbers, surpasses all that Greece, (176) melodious but simple in the service of the altar, ever poured forth from her vocal groves in solemn adoration. By the force of native genius, the ancients elevated their heroes to a pitch of sublimity that excites admiration, but to soar beyond which they could derive no aid from mythology; and it was reserved for a bard, inspired with nobler sentiments than the Muses could supply, to sing the praises of that Being whose ineffable perfections transcend all human imagination. Of the praises of gods and heroes, there is not now extant a more beautiful composition, than the 12th Ode of the first book of Horace:
Quem virum aut heroa lyra vel acri Tibia sumes celebrare, Clio? Quem Deum? cujus recinet jocosa Nomen imago, Aut in umbrosis Heliconis oris, etc.
What man, what hero, on the tuneful lyre, Or sharp-toned flute, will Clio choose to raise, Deathless, to fame? What God? whose hallowed name The sportive image of the voice Shall in the shades of Helicon repeat, etc.
The Satires of Horace are far from being remarkable for poetical harmony, as he himself acknowledges. Indeed, according to the plan upon which several of them are written, it could scarcely be otherwise. They are frequently colloquial, sometimes interrogatory, the transitions quick, and the apostrophes abrupt. It was not his object in those compositions, to soothe the ear with the melody of polished numbers, but to rally the frailties of the heart, to convince the understanding by argument, and thence to put to shame both the vices and follies of mankind. Satire is a species of composition, of which the Greeks furnished no model; and the preceding Roman writers of this class, though they had much improved it from its original rudeness and licentiousness, had still not brought it to that degree of perfection which might answer the purpose of moral reform in a polished state of society. It received the most essential improvement from Horace, who has dexterously combined wit and argument, raillery and sarcasm, on the side of morality and virtue, of happiness and truth.
The Epistles of this author may be reckoned amongst the most valuable productions of antiquity. Except those of the second book, and one or two in the first, they are in general of the familiar kind; abounding in moral sentiments, and judicious observations on life and manners.
The poem De Arte Poetica comprises a system of criticism, in justness of principle and extent of application, correspondent to the various exertions of genius on subjects of invention and taste. (177) That in composing this excellent production, he availed himself of the most approved works of Grecian original, we may conclude from the advice which he there recommends:
------------Vos exemplaria Graeca Nocturna versate manu, versate diurna.
Make the Greek authors your supreme delight; Read them by day, and study them by night.--Francis.
In the writings of Horace there appears a fund of good sense, enlivened with pleasantry, and refined by philosophical reflection. He had cultivated his judgment with great application, and his taste was guided by intuitive perception of moral beauty, aptitude, and propriety. The few instances of indelicacy which occur in his compositions, we may ascribe rather to the manners of the times, than to any blameable propensity in the author. Horace died in the fifty-seventh year of his age, surviving his beloved Mecaenas only three weeks; a circumstance which, added to the declaration in an ode [276] to that personage, supposed to have been written in Mecaenas’s last illness, has given rise to a conjecture, that Horace ended his days by a violent death, to accompany his friend. But it is more natural to conclude that he died of excessive grief, as, had he literally adhered to the affirmation contained in the ode, he would have followed his patron more closely. This seems to be confirmed by a fact immediately preceding his death; for though he declared Augustus heir to his whole estate, he was not able, on account of weakness, to put his signature to the will; a failure which it is probable that he would have taken care to obviate, had his death been premeditated. He was interred, at his own desire, near the tomb of Mecaenas.----
OVID was born of an equestrian family, at Sulmo, a town of the Peligni, on the 21st of March, in the consulship of Hirtius and Pansa. His father intended him for the bar; and after passing him through the usual course of instruction at Rome, he was sent to Athens, the emporium of learning, to complete his education. On his return to Rome, in obedience to the desire of his father, he entered upon the offices of public life in the forum, and declaimed with great applause. But this was the effect of paternal authority, not of choice: for, from his earliest years, he discovered an extreme attachment to poetry; and no sooner was his father dead, than, renouncing the bar, he devoted himself entirely to the cultivation of that fascinating art, his propensity to which was invincible. His productions, all written either in heroic or pentameter verse, are numerous, and on various subjects. It will be sufficient to mention them briefly.
(178) The Heroides consist of twenty-one Epistles, all which, except three, are feigned to be written from celebrated women of antiquity, to their husbands or lovers, such as Penelope to Ulysses, Dido to Aeneas, Sappho to Phaon, etc. These compositions are nervous, animated and elegant: they discover a high degree of poetic enthusiasm, but blended with that lascivious turn of thought, which pervades all the amorous productions of this celebrated author.
The elegies on subjects of love, particularly the Ars Amandi, or Ars Amatoria, though not all uniform in versification, possess the same general character, of warmth of passion, and luscious description, as the epistles.
The Fasti were divided into twelve books, of which only the first six now remain. The design of them was to deliver an account of the Roman festivals in every month of the year, with a description of the rites and ceremonies, as well as the sacrifices on those occasions. It is to be regretted, that, on a subject so interesting, this valuable work should not have been transmitted entire: but in the part which remains, we are furnished with a beautiful description of the ceremonial transactions in the Roman calendar, from the first of January to the end of June. The versification, as in all the compositions of this author, is easy and harmonious.
The most popular production of this poet is his Metamorphoses, not less extraordinary for the nature of the subject, than for the admirable art with which the whole is conducted. The work is founded upon the traditions and theogony of the ancients, which consisted of various detached fables. Those Ovid has not only so happily arranged, that they form a coherent series of narratives, one rising out of another; but he describes the different changes with such an imposing plausibility, as to give a natural appearance to the most incredible fictions. This ingenious production, however perfect it may appear, we are told by himself, had not received his last corrections when he was ordered into banishment.