A History of Roman Literature

Satires-The Epodes-The second book of Satires-The first three books of Odes-The first boo

orks of the Greeks, and that although his poems are in many respects not equal to those of Homer, he must still be regarded as one of the greatest poets of the world. The increase of knowledge which has led to the undue depreciation of Virgil tended to make the second great poet of the Augustan period more highly appreciated. The odes of Horace, which are the best known and the most popular of his poems, are imitations of the poetry of the Greek lyrists, Alc?us, Sappho, Anacreon, and their followers, but the Greek originals are for the most part lost, so that Horace can not suffer by comparison with them. Moreover, modern taste is less pleased with epi

e came in contact with the sons of wealthy and noble parents. His father exercised personal supervision over the boy's education, accompanying him to the school, and calling his attention to what went on about him, pointing out the evil effects of bad conduct, and giving him practical advice. In school, under a strict master, Orbilius, who did not spare the rod, Horace read the translation of the Odyssey by Livius Andronicus, and also the Iliad, the latter, perhaps, in the original Greek. From Rome, he went to Athens to study philosophy, and was there

imate with M?cenas, without, however, being his confidant in political matters. When M?cenas went to Brundusium to negotiate an agreement between Augustus and Antony, Horace, with Virgil, Varius, Plotius, and the Greek rhetorician Heliodorus, was in his train.66 In 34 or 33 B. C. M?cenas gave him a country seat in the Sabine hills not far from Tibur (Tivoli), so large that it contained five farmhouses. Here the poet spent a great part of his remain

book of Satires. The first Satire is addressed to M?cenas, and serves to dedicate the entire collection to the poet's chief patron, though its subject is the general discontent of every man with his own lot and the foolishness of heaping up wealth. In general, the Satires are not, as were those of Lucilius, attacks upon individuals, but rather criticisms of the follies and foibles of the times. In the second Satire the dangers to which adulterers expose themselves are set f

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n or discontented with his lot. The seventh tells of a joke in a lawsuit between Publius Rupilius Rex and a banker, Persius; the eighth, of some interrupted magic rites before a statue of the god Priapus; and the ninth, of the poet's ineffectual efforts to get rid of a bore, who stuck to him until he was dragged off to

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1 B. C. Horace yielded to the persuasions of M?cenas and published a collection of seventeen pieces which he had written at various t

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metres, though most of these are in alternating long and short lines. Horace himself calls these poems Iambics simply. In them he imitates the Greek poet Archilochus, but though sev

ollies of his time rather than individuals. In subject the Epodes range from the praise of rural life (ii) and encouragement to live a life of ease and pleasure (xiii) to invectives against a rich upstart (iv) or a woman who deals in poisons (v, xvii), and a rebuke of the Romans who are eager to stir up a civil war (xvi). The last Epode (xvii) has the form of a d

nly too numerous in Rome. Others treat of various subjects, such as the serious study bestowed upon dinners (viii, iv), certain Stoic doctrines (iii, vii), the criticisms of the earlier Satires (i), or the joys of the farmer's simple life (ii). In almost every case, the thoughts and theories expressed are put into the mouth of some one other than the poet, whereas in the first book of Satires the poet expressed the opinions himself. Horace's

yrists were not almost entirely lost, we could recognize many of them in Latin version in the Odes of Horace. The Odes contain also lines that remind one of similar passages in the poems of Euripides, Bacchylides, and other Greek poets, but in form as well as in contents they are for the most part imitations of the three great early lyrists. Most of the Odes are divided into stanzas of four lines each, and in all such a division is possible, with perhaps one exception. The first three books of the Odes were published in 23 B. C., but their compositi

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m or another. The workmanship of the odes is wonderful in its perfection. Horace is not one of those who believe that perfect poetry comes purely by inspiration, without labor. He writes no word without being sure that it is the best word in its place. His metres are adapted to the thought he wishes to express, and the perfection of the metre makes even simple or common thoughts beautiful. The odes are not the ardent outpourings of a passionate spirit, as are some of the poems of Catullus, but they are the care

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excited (vi), he teaches the Stoic doctrine that virtue suffices to make men happy (xvi), he advocates calmness and the avoidance of care, and urges Tibullus (iv, 13) to live as if each day were to be his last. But he also sings the praise of wine (v, 16 ff.) and of the quiet life in the country (x, xiv). In two epistles he gives practical advice concerning intercourse with persons of high station, and various practical suggestions are found scattered through the other poems. In a letter to M?cenas (xix) he ridicules his imitators and mocks at his critics. The twentieth poem is an address to his

nd book (lines 25 and 141 ff.). The poet wished to retire and pursue the study of philosophy; but he had gained much experience in literary matters, and in three letters, written probably between 19 and 14 B. C., he records the results of this experience. The first letter is addressed to Augustus, the second to Julius Florus. These two form the second book of the Epistles. The Ars Poetica. The third letter, addressed to the Pisos, father and two sons, was originally published with the others, but was soon separated from them, and is known as the Ars Poetica. This is not a systematic treatise on poetry, but Horace's views, derived in part from his own expe

undred and ten years. An important part of the celebration was the singing of a hymn in honor of Apollo and Diana. This was to be sung by a chorus of boys and girls of pure Roman birth, both of whose parents were living, and whose mothers had married only once. Horace was asked by Augustus to compose this hymn, and could not refuse the honor, which distinguish

ing a fourth book of fifteen odes, written apparently in the years 17-13 B. C. The fourth book of Odes is in no way inferior to its predecessors in variety of form or perfection of workmanship, and it contains a larger proportion of exalted, patriotic poems. The sixth ode, addressed to Apollo, seems to be a pro?mium to the Carmen S

and thereby to the glory of the Roman Empire. And it is chiefly to these poems that he owes his fame. They are not equal in merit, but they are the most perfect productions of Roman lyric poetry. As such they were recognized in Horace's own lifetime, and as such they have been admired and loved through the succeeding ages, never more than in recent times. Countless scholars, poets, and men of letters have read them with delight, and many have been the attempts to render their inimitable charm in translations. But their subtle beauty defies the tra