olives, and vines; it was surrounded by pleasant and shady woods, and with abundance of the purest water; it was superintended by a bailiff (villicus), and cultivated by five families of free coloni (Epist. I. xiv. 3), and Horace employed about eight slaves (Sat. II. vii. 118). To the munificence of Mecenas we owe that peculiar charm of the Horatian poetry, that it represents both the town and country life of the Romans in that age; the country life, not only in the rich and luxurious villa of the wealthy at Tivoli, or at Baiæ; but in the secluded retreat and among the simple manners of the peasantry. It might seem as if the wholesome air which the poet breathed, during his retirement on his farm, re-invigorated his natural manliness of mind. There, notwithstanding his love of convivial enjoyment in the palace of Mecenas and other wealthy friends, he delighted to revert to his own sober and frugal mode of living. Probably, at a later period of life, he indulged himself in a villa at Tivoli, which he loved for its mild winter and long spring; (4) and all the later years of his life were passed between these two country residences and Rome. The second book of Satires followed the first. It is evident from the first lines of this book that the poet had made a strong impression on the public taste. No writer, with the keen good sense of Horace, (46) For Tibur, see C. 1. vii. 10-14. С. Î1. vi. 5-8; iv. 21-24. C. IV. ii. 27-31; iii. 10-12. Epod. i. 29, 30. Epist. 1. vii. 44, 45. I. viii. 12. would have ventured on such expressions as the following, unless he had felt confident of his position: "Sunt quibus in Satirâ videor nimis acer, et ultra This is the language of a privileged egotist; of one who had acquired a right, by public suffrage, to talk of himself. The victim of his satire will be an object of ridicule to the whole city: "Nec quisquam noceat cupido mihi pacis! et ille The sixth Satire of this book is the most important in the chronology of the life and works of Horace. 66 Septimus octavo propior jam fugerit annus, Ex quo Mæcenas me cœpit habere suorum In numero, duntaxat ad hoc, quem tollere rheda (47) I subjoin the imitation of his best interpreter at least, if not commentator: "There are (I scarce can think it, but am told), There are to whom my satire seems too bold; And the sad burden of a merry song."-Pope. Hoc genus: Hora quota est? Threx est Gallina Syro par? Et quæ rimosâ bene deponuntur in aure.”(49) Sat. II. vi. 40-47.(50) It was in the eighth year (") of his familiarity with Mæçenas that this Satire was composed. To this must be added the nine months after his first introduction. If Horace returned to Rome in the winter after the battle of Philippi (u. c. 712, 713), time must be allowed for him to form his friendship with Virgil and with Varius, and to gain that poetic reputation by pieces circulated in private which would justify their recommendation of their friend to Mæcenas. The first introduction could scarcely therefore be earlier than u. c. 715. It is impossible therefore that this book could be completed before late in u. c. 722, the year before the battle of Actium. If, however, there be an allusion to the division of lands to the soldiers (49) Some construe" Septimus octavo propior jam fugerit annus," as only six years and a half. The past, fugerit, surely implies that the seventh year had actually elapsed, and above half a year more. (50) This pleasant passage is exquisitely adapted by Swift: 46 'Tis (let me see) three years and more Since Harley bid me first attend, And chose me for an humble friend; Would take me in his coach to chat, And question me of this and that; As, What's o'clock? or How's the wind? Whose chariot's that we left behind? Or, Have you nothing new to-day From Pope, from Parnell, or from Gay?" &c. &c. 米米米米米水 engaged in that war, the date cannot be before U. C. 724.(51) The book of Epodes may be considered as in one sense the transition from satire to lyric poetry. Though not collected or completed till the present period of the poet's life, this book appears to contain some of the earliest compositions of Horace. In his sweet youth, his strong passions drove him to express himself in the sharp Iambic verse. Carm. I. xvi., 22-24. Bentley's observation, which all would wish to be true, is perhaps more so than would appear from his own theory; that, as it proceeds, the stream of the Horatian poetry flows not only with greater elegance, but with greater purity.(52) (51) This part of the Bentleian chronology is, it may almost be asserted, impossible. Bentley refers the partition of land alluded to in the celebrated line "Promissa Triquetrâ Prædia Cæsar an est Italâ tellure daturus," to the division which followed the defeat of Sex. Pompeius. This defeat took place u. c. 718; the death of Pompeius u. c. 719. The eight years and a half alone would throw the presentation to Mæcenas above the date of the battle of Philippi, u. c. 712. The only way of escape is to suppose that the division was promised, not fulfilled, and took several years to carry out. But this is irreconcilable with the accounts of this division in the historians, and the allusion in Horace to its first enactment as to where the lands were to be assigned. (52) In cæteris autem singulis præcedentis ætatis gradus plenissimis signis indicat; idque tali ex hac serie jam a me demonstratâ jucundum erit animadvertere; cum operibus juvenilibus multa obscæna et flagitiosa insint, quanto annis provectior erat, tanto eum et poetica virtute et argumentorum dignitate gravitateque meliorem semper castioremque evasisse." -Bentleius in Præf. 66 But by Bentley's theory the worst of the Epodes were 米米米米 |