the genial worldly wisdom of the former school, more in harmony with human experience than the formal precepts of the latter.

It IS interesting to trace the growth of Horace in elevation of sentiment and serious conviction from his first ridicule of the paradoxes of Stoicism in the two books of the Satires to the appeal which he makes in some of the Odcs of the third book to the strongest Roman instincts of fortitude and self-sacrifice. A similar modification of his religious and political attitude may be noticed between his early declaration of Epicurean unbelief and the sympathy which he shows with the religious reaction fostered by Augustus, and again between the Epicurean ind1fierence to national affairs and the strong support which he gives to the national policy of the emperor in the first six Odes of the third book, and in the fifth and Hfteenth of the fourth book. In h1s whole religious attitude he seems to stand midway between the consistent denial of Lucretius and Virgil's pious endeavour to reconcile ancient faith with the conclusions of philosophy. His introduction into some of his Odes of the gods of mythology must be regarded as merely artistic or symbolical. Yet 1n some cases we recognize the expression of a natural piety, thankful for the blessing bestowed on purity and simplicity of l1fe, and acknowledging a higher and more majestic law governing nations through their voluntary obedience. On the other hand, h1s allusions to a future life, as in the “ domus exilis I'luton1a, ” and the “ furvae regna Proserpinae, ” are shadowy and art1fic1al. The image of death is constantly obtruded in his poems to enhance the sense of present enjoyment. In the true spirit of paganism he associates all thoughts of love and wine, of the meeting of friends, or of the changes of the seasons with the recollection of the transitorxness of our pleasures“ Nos, ubi decidimus

Quo PIUS Aeneas, quo dives Tullus et Ancus,

Pulv1s et umbra sumus."

Horace is so much of a moralist in all his writings that, in order to enter 1nto the Splflt both of his familiar and of his lyrical poetry, it IS essential to realize what were h1s VIEWS of l1fe and the 1nfiuences under wh1ch they were formed. He is, though in a d1f'ferent sense from l.LlCI'€tlllS, eminently a ph1losoph1cal an refiect1ve poet. He IS also, like all the other poets of the Augustan age, a poet in whose composition culture and cr1tic1sm were as conspicuous elements as spontaneous inspiration In the judgment he passes on the older poetry of Rome and on that of h1s contemporaries, he seems to attach more importance to the cr1t1cal and artistic than to the creative and llW€l1t1V€ functions of gen1us. It is on the labour and iudgment with which he has cultivated h1s gift that he rests his hopes of fame The whole poetry of the Augustan age was based on the works of older poets, Roman as well as Greek. Its aim was to perfect the more immature workmanship of the former, and to adapt the forms, manners and metres of the latter to subjects of immediate and national lllt€l'€St. As Virgil performed for is generation the same k1nd of office which Ennius performed for an older generation, so Horace 1n h1s Satzres, and to a more limited extent in h1s Eptstles, brought to perfection for the amusement and instruction of h1s contemporaries the rude but vigorous designs of LUC1llUS. It was the example of LUClllUS which induced Horace to com1n1t all h1s pr1 ate thoughts, feelings and experience “ to h1s books as to trusty co1npan1ons, ” and also to comment freely on the characters and l1ves of other men. Many of the subyects of particular satires of Horace were immediately suggested by those treated by Luc1l1us l'hus the “ journey to Brundusium " (Sat i. 5) reproduced the outlines of Luc1l1us's “ journey to the Sicilian Straits.” The discourse of Ofella on luxury (Sat. i1 2) was founded on a similar discourse of Lael1us on gluttony, and the “ Banquet of Nas1d1enus” (Sat ll 8) may have been suggested by the description by the older poet of a rustic entertainment. There was more of moral censure and personal aggressiveness 1n the satire of the older poet. T he ironic al temper of Horace mduced him to treat the follies of society in the spirit of a humorist and man of the world, rather than to assail vice w1th the sex er1ty of a censor; and the greater urbanity of h1s age or of h1s disposition restrained 1n him the d1rect personality of satire Ii he names introduced by h1m to mark tvpes of character such as Iomentanus, Maemus, Pantolabus, &c, are reproduced from the writings of the older ploet Horace also followed Lucil1us in the variety of forms wh1c h1s satire assumes, and especially in the frequent adoption of the form of dialogue, derived from the “ dramatic medlev " wh1ch was the original character of the Roman Satura. Th1S form suited the spirit in which Horace regarded the world, and also the dramatic quality of his genius, just as the direct QCITUHCIQIIOD and elaborate pa1nt1ng of character suited the “ saeva 1nd1gnat1o " and the oratorical gemus of luvenal Horace's satire is accordingly to a great extent a reproduction in form, manner, substance and tone of the satire of Luc1lius, or rather lt is a casting in the mould of Luc1l1us of h1s own observation and experience. But a comparison of the fragments of LUClllUS Wlth the f1n1shed compositions of Horace brings out 1n the strongest l1ght the artistic originality and skill of the latter poet 1n h1s management of metre and style. Nothing can be rougher and harsher than the hexameters of Luc1l1us, or cr11der than h1s expression In h1s management of the more natural trochaic metre, he has shown much greater ease and simplicity It IS one great triumph of Horace's genius that he was the first and indeed the only Latin writer who could bend the stately hexanieter to the uses of natural and easy, and at the same time terse and hapP§ , conversational style ('atullus, in h1s hendecasyllabics, had show n the v1yac1ty with which that l1ght and graceful metre could be employed in telling some short story or describing some trivial situation dramatically But no one before Horace had succeeded 1n apply1ng the metre of heroic verse to the uses of common life But he had one grcat native modcl 111 the mastery of a terse, refined, 1ron1cal and natural conversational style, Terence; and the Satzres show, not only 1n allusions to 1nc1dents and personages, but 1n many haPPY turns of BXPFBSSIOH very frcquent traces of Horace's fam1l1arity w1th the works of the Roman Menander. The Eptsttes are more Oflglnal 1n form, more ph1losoph1c in Splflt, more finished and charming 1n style than the Sattres. The form of COl'llpOS1t10l'l may have been suggested by that of some of the satires of Lucil1us, wh1ch were composed as letters to his personal friends But letter-writing 1n prose, and occasionally also in verse, had been common among the Romans from the time of the SIBQE of Lormth, and a practice orig mating 1n the wants and coven1ence of friends temporarily separated from one another by the publ1c SBFVICE was ultimately cultivated as a literary acco1npl1shment It was a happy 1dea of Horace to adopt this form for his didactic wr1t1ngs on life and literature. It suited him as an eclectic and not a systematic thinker, and as a friendly counsellor rather than a formal teacher of h1s age It suited his circumstances in the latter years of h1s life, when h1s wh1le he yet

tastes inclined him more to retirement and study, wished to retain h1s hold on SOC1€ty and to extend his relations Wlth younger men who were rismg into emmence It suited the class who cared for literature-a l1m1ted c1rcle of educated men, 1nt1mate with Wh1le g1v1ng

one another, and sharing the same tastes and ])Ul'SU1tb expression to lessons applicable to all men, he 1n th1s way seems to address each reader 1nd1v1duall, with the urbanity of a friend rather than the solemnity of a preacher In Splflt the Epzstles are more ethical and meditative than the Satzres. L1ke the Odes they exhibit the twofold aspects of his philosophy, that of temperate E icureanism and that of more SGFIOUS and elevated conv1ct1on. In tihe actual max1ms which he lays down, in h1s apparent bel1cf 1n the efficacy of address in philosophical texts to the mmd, he exemphfies the triteness and lim1tat1on of all Roman thought. But the sp1r1t and sentiment of his practical philosophy is quite genuine and Oflglnal The 1ndiv1duality of the great Roman moralists, such as Lucret1us and Horace, appears not 1n any difference in the results at which they have arrived, but 1n the difference of Splflt w1th wh1ch they regard the spectacle of human l1fe. In reading Lucret1us wc are impressed by his earnestness, his pathos, his elevation of feeling; 1n Horace we are charmed by the serenity of his temper and the flavour of a delicate and subtle WlS(lOl'l1» We note also in the Epzstles the presence of a more ph1losoph1c spirit, not only in the expression of h1s personal convictions and a1ms, but also 1n h1s com1nents on SOCl€tY. In the Satzres he paints the outwaid effects of the passions of the age He shows us prominent types of character-the m1ser, the parasite, the legacy-hunter, the parvenu, &c., but he does not try to trace these different manifestations of l1fe to their source. In the Epzstles he finds the secret spr1ng of the social VICGS of the age in the des1re, as marked in other times as in those of Horace, to bccome r1ch too fast, and 1n the tendency to value men according to the1r wealth, and to sacrifice the ends of l1fe to a superfluous care for the means of l1ving. The cause of all this aimless restlessness and unreasonable desire is su1nmed up in the words “ Strenua nos exercet 1nert1a ” In his Satzres and Epzstles Horace shows himself a genuine moralist, a subtle observer and true painter of l1fe, and an admirable writer. But for both of these works he himself d1scla1ms the title of poetry. He rests his claims as a poet on h1s Ode.: T hey reveal an entirely d1f°Eerent aspect of his gen1us, h1s sp1r1t and h1s culture He IS one among the few great writers of the world who have attained high excellence in two w1dely separated provmces of literature Through all h1s l1fe he was probably conscious of the “ ingem benigna vena, ” which 1n his youth 1nade him the sympathetic student and 1m1tator of the older lyrical poetry of Greece, and directed h1s latest efforts to poetic cr1tic'1sm But it was in the vears that intervened between the publ1cat1on of his Satzres and Eptsttes that h1s lyrical genius asserted itself as his re dominant faculty At that t1me he had outlived the coarser pleasures and risen bove the harassmg cares of his earlier career; a fresh source of happiness and insp1rat1on had been opened up to him in h1s beaut1 ul Sabine retreat; he had become not only reconciled to the rule of Augustus, but a thoroughly convinced and, so far as h1s temperament admitted to enthusiasm, an enthusiastic believer in ltS beneficence. But it was only after much labour that his original ve1n of genius obtained a free and abundant outlet He lays no cla1m to the “ profuse strains of unpremeditated

art, " with wh1ch other great lyrical poets of ancient