[297] Nos convivia, nos prælia virginum, &c.
Of Treats we sing, and Love Intrigues.
And after a Recital of Juno's Speech to the Gods, he concludes:
[298] Non hæc jocosæ conveniunt lyræ; Quo, Musa, tendis?
Stay, Muse; this suits but ill the sportive Lyre.
But these Expressions are the Effects of the Poet's Modesty, not to be understood critically; not as spoken of Lyrics in general, but of his own, which with a becoming Decency, he says, are unequal to greater Subjects. For the Ode in its own Nature is chiefly adapted to the Sublime; and nothing can have more of that Quality than some of Horace's. Who, for Instance, can read, without Rapture,
[299] Motum ex Metello Consule civicum, &c. Jam nunc minaci murmure cornuum Perstringis aures; jam litui strepunt; Jam fulgor armorum fugaces Terret equos, equitumque vultus. Audire magnos jam videor duces Non indecoro pulvere sordidos; Et cuncta terrarum subacta, Præter atrocem animum Catonis.
Methinks I hear the horrid Din of Arms: Bright gleaming Armour paints the Field: The rattling Trumpet pours its dread Alarms: The Brave lie low in Dust, the Valiant yield: Revenge and Honour the stern Warrior warms, And ev'ry Breast, but Cato's, is with Horror fill'd. Oldsworth.
Or this:
[300] Descende Cœlo, & dic, age, tibia, Regina, longum, Calliope, melos, &c.