232. Gratus Alexandro regi magno &c.] This praise of Augustus, arising from the comparison of his character with that of Alexander, is extremely fine. It had been observed of the Macedonian by his historians and panegyrists, that, to the stern virtues of the conqueror, he had joined the softer accomplishments of the virtuoso, in a just discernment and love of poetry, and of the elegant arts. The one was thought clear from his admiration and study of Homer: And the other, from his famous edict concerning Apelles and Lysippus, could not be denied. Horace finds means to turn both these circumstances in his story to the advantage of his prince.
From his extravagant pay of such a wretched versifier, as Choerilus, he would insinuate, that Alexander’s love of the muse was, in fact, but a blind unintelligent impulse towards glory. And from his greater skill in the arts of sculpture and painting, than of verse, he represents him as more concerned about the drawing of his figure, than the pourtraiture of his manners and mind. Whereas Augustus, by his liberalities to Varius and Virgil, had discovered the truest taste in the art, from which he expected immortality: and, in trusting to that, as the chief instrument of his fame, had confessed a prior regard to those mental virtues, which are the real ornament of humanity, before that look of terror, and air and attitude of victory, in which the brute violence of Alexander most delighted to be shewn.
243. Musarum dona] The expression is happy; as implying, that these images of virtue, which are represented as of such importance to the glory of princes, are not the mere offerings of poetry to greatness, but the free-gifts of the muse to the poet. For it is only to such works, as these, that Horace attributes the wondrous efficacy of expressing the manners and mind in fuller and more durable relief, than sculpture gives to the exterior figure.
Non magis expressi vultus per aënea signa,
Quam per vatis opus mores animique virorum
Clarorum adparent.
247.—Virgilius.] Virgil is mentioned, in this place, simply as a Poet. The precise idea of his poetry is given us elsewhere.
molle atque facetum
Virgilio annuerunt gaudentes rure Camoenae.
1 Sat. x. 44.
But this may appear a strange praise of the sweet and polished Virgil. It appeared so to Quinctilian, who cites this passage, and explains it, without doubt, very justly, yet in such a way as shews that he was not quite certain of the truth of his explanation.