The Lives of the Twelve Caesars, Complete
effulgence of epic renown! In the beautiful episode of the Elysian
fields, in the Aeneid, where he dexterously introduced a glorious display
of their country, he had touched the most elastic springs of Roman
enthusiasm. The passion would have rebounded upon himself, and they
would, in the heat of admiration, have idolized him.
HORACE was born at Venusia, on the tenth of December, in the consulship
of L. Cotta and L. Torquatus. According to his own acknowledgment, his
father was a freedman; by some it is said that he was a collector of the
revenue, and by others, a fishmonger, or a dealer in salted meat.
Whatever he was, he paid particular attention to the education of his
son, for, after receiving instruction from the best masters in Rome, he
sent him to Athens to study philosophy. From this place, Horace followed
Brutus, in the quality of a military tribune, to the battle of Philippi,
where, by his own confession, being seized with timidity, he abandoned
the profession of a soldier, and returning to Rome, applied himself to
the cultivation of poetry. In a short time he acquired the friendship of
Virgil and Valerius, whom he mentions in his Satires, in terms of the
most tender affection.
Postera lux oritur multo gratissima: namque
Plotius et Varius Sinuessae, Virgiliusque,
Occurrunt; animae, quales neque candidiores
Terra tulit, neque queis me sit devinctior alter.
O qui complexus, et gaudia quanta fuerunt!
Nil ego contulerim jucundo sanus amico.--Sat. I. 5.
Next rising morn with double joy we greet,
For Plotius, Varius, Virgil, here we meet:
Pure spirits these; the world no purer knows,
For none my heart with more affection glows:
How oft did we embrace, our joys how great!
For sure no blessing in the power of fate
Can be compared, in sanity of mind,
To friends of such companionable kind.--Francis.
By the two friends above mentioned, he was recommended to the patronage
not only of Mecaenas, but of Augustus, with whom he, as well as Virgil,
lived on a footing of the greatest intimacy. Satisfied with the luxury
which he enjoyed at the first tables in (174) Rome, he was so unambitious
of any public employment, that when the emperor offered him the place of
his secretary, he declined it. But as he lived in an elegant manner,
having, besides his house in town, a cottage on his Sabine farm, and a
villa at Tibur, near the falls of the Anio, he enjoyed, beyond all doubt.
a handsome establishment, from the liberality of Augustus. He indulged
himself in indolence and social pleasure, but was at the same time much
devoted to reading; and enjoyed a tolerable good state of health,
although often incommoded with a fluxion of rheum upon the eyes.
Horace, in the ardour of youth, and when his bosom beat high with the
raptures of fancy, had, in the pursuit of Grecian literature, drunk
largely, at the source, of the delicious springs of Castalia; and it
seems to have been ever after his chief ambition, to transplant into the
plains of Latium the palm of lyric poetry. Nor did he fail of success:
Exegi monumentum aere perennius.--Carm. iii. 30.
More durable than brass a monument I’ve raised.
In Greece, and other countries, the Ode appears to have been the most
ancient, as well as the most popular species of literary production.
Warm in expression, and short in extent, it concentrates in narrow bounds
the fire of poetical transport: on which account, it has been generally
employed to celebrate the fervours of piety, the raptures of love, the
enthusiasm of praise; and to animate warriors to glorious exertions of
valour:
Musa dedit fidibus Divos, puerosque Deorum,
Et pugilem victorem, et equum certamine primnm,
Et juvenum curas, et libera vina referre.--Hor. De Arte Poet.
The Muse to nobler subjects tunes her lyre;
Gods, and the sons of Gods, her song inspire;
Wrestler and steed, who gained the Olympic prize,
Love’s pleasing cares, and wine’s unbounded joys.--Francis.
Misenum Aeoliden, quo non praestantior alter
Aere ciere viros, Martemque accendere cnatu. [275]
Virgil, Aeneid, vi.
. . . . . . . . . . . .
Sed tum forte cava dum personat aequora concha
Demens, et canto vocat in certamina Divos.--Ibid.
Misenus, son of Oeolus, renowned
The warrior trumpet in the field to sound;
With breathing brass to kindle fierce alarms,
And rouse to dare their fate in honourable arms.
. . . . . . . . . . . .
(175) Swollen with applause, and aiming still at more,
He now provokes the sea-gods from the shore.--Dryden
There arose in this department, among the Greeks, nine eminent poets,
viz. Alcaeus, Alcman, Anacreon, Bacchylides, Ibicus, Sappho, Stesichorus,
Simonides, and Pindar. The greater number of this distinguished class
are now known only by name. They seem all to have differed from one
another, no less in the kind of measure which they chiefly or solely
employed, than in the strength or softness, the beauty or grandeur, the
animated rapidity or the graceful ease of their various compositions. Of
the amorous effusions of the lyre, we yet have examples in the odes of
Anacreon, and the incomparable ode of Sappho: the lyric strains which
animated to battle, have sunk into oblivion; but the victors in the
public games of Greece have their fame perpetuated in the admirable
productions of Pindar.
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