While in her eyes the languid light
Betrays a yielding wish to prove,
Amid her coy, yet playful flight,
The pleasing force of fervent Love;
Or when, in gaily-frolic guise,
She snatches her fair self the kiss,
E'en at the instant she denies
Her Lover the requested bliss.
[1]: Of that artful caution, which marks the character of Horace, this Ode forms a striking instance. He declines the task appointed by his Patron, that of describing the Italian Wars, because he foresees that in its execution he must either disoblige the Emperor, and his Minister, by speaking too favorably of their Enemies, or offend some Friends, whom he yet retained amongst those, who had exerted themselves against the Cæsars. Horace endeavours to soften the effect of this non-compliance by a warm panegyric upon Licinia, the betrothed bride of Mæcenas. She is in other places called Terentia. Both these names have affinity to those of her Brothers, Licinius, afterwards Augur, and her adopted Brother, Terentius.
Horace mentions plainly the Numantian Wars, and those with Hannibal, but artfully speaks of those of Brutus, and Cassius, and of the Character of Antony, under fabulous denomination, sufficiently understood by Augustus, and his Minister. Dacier justly observes how easy it is to discern, that by the Lapithæ, and Giants, defeated by Hercules on the plains of Thessaly, the Poet means the Armies of Brutus, and Cassius, defeated by Augustus, almost in the same place, at the Battle of Philippi. He concludes also that by Hylæus is meant Mark Antony, who assumed the name of Bacchus, and ruined himself by his profligate passion for Cleopatra. Another Commentator observes, that as the Giants, and Lapithæ, are said to have made the Palace of Saturn shake, so also did Brutus, and Cassius, and afterwards Mark Antony, make all Italy tremble, and that it is Rome itself that Horace would have to be understood by the magnificent Palace of Saturn. Some Critics seek to destroy all the common sense, beauty, and character of this Ode, by denying the allegoric interpretation; and also by insisting that Licinia was the Poet's own Mistress, and not the mistress of his Patron. It had been absurd, and inconceivably unmeaning, if, when he was requested to sing the triumphs of Augustus in the Italian Wars, he should, during the brief mention of them, have adverted to old fables, uniting them, not as a simile, but in a line of continuation with the Numantian, and Carthaginian Wars; unless, beneath those fables, he shadowed forth the Roman Enemies of Augustus.
The idea that Licinia was the Mistress of Horace, has surely little foundation:—for it were strange indeed if he could take pleasure in describing amorous familiarities between Mæcenas, and the Person with whom himself was in love. One of these Critics alledges, as the reason why this Lady could not be the destined Bride of Mæcenas, that it would have been as indiscreet in him to have admitted Horace to be a witness of his passion for Licinia-Terentia, as it would have been impertinent in the Poet, to have invaded the privacies of his Patron. It is not necessary, from this Ode, to conclude that Horace had witnessed the tender scene he describes. He might, without any hazard of imputed impertinence, venture to paint, from his imagination, the innocently playful endearments of betrothed Lovers. The picture was much more likely to flatter than to disgust the gay, and gallant Mæcenas.
[2]: The Roman Ladies, according to ancient custom, danced with entwined arms, around the Altar of Diana, on the day of her Festival.
TO POSTHUMUS.
BOOK THE SECOND, ODE THE FOURTEENTH.
Alas! my Posthumus, the Years
Unpausing glide away;
Nor suppliant hands, nor fervent prayers,
Their fleeting pace delay;
Nor smooth the brow, when furrowing lines descend,
Nor from the stoop of Age the faltering Frame defend.
Time goads us on, relentless Sire!
On to the shadowy Shape, that stands
Terrific on the funeral pyre,
Waving the already kindled brands.—
Thou canst not slacken this reluctant speed,
Tho' still on Pluto's shrine thy Hecatomb should bleed.