The Epistle to the Pisos does not profess to be a complete exposition of the poet's art. It glances only at small sections of that wide theme. So far as it goes, it is all gold, full of most instructive hints for a sound critical taste and a pure literary style. It was probably meant to cure the younger Piso of that passion for writing verse which had, as we have seen, spread like a plague among the Romans, and which made a visit to the public baths a penance to critical ears,—for there the poetasters were always sure of an audience,—and added new terrors to the already sufficiently formidable horrors of the Roman banquet. {Footnote: This theory has been worked out with great ability by the late M. A. Baron, in his 'Epitre d'Horace aux Pisons sur l'Art Poétique'—Bruxelles, 1857; which is accompanied by a masterly translation and notes of great value.} When we find an experienced critic like Horace urging young Piso, as he does, to keep what he writes by him for nine years, the conclusion is irresistible, that he hoped by that time the writer would see the wisdom of suppressing his crude lucubrations altogether. No one knew better than Horace that first-class work never wants such protracted mellowing.
Soon, after this poem was written the great palace on the Esquiline lost its master. He died (B.C. 8) in the middle of the year, bequeathing his poet-friend to the care of Augustus in the words "Horati Flacci, ut mei, esto memor,"—"Bear Horace in your memory as you would myself." But the legacy was not long upon the emperor's hands. Seventeen years before, Horace had written:
"Think not that I have sworn a bootless oath;
Yes, we shall go, shall go,
Hand linked in hand, where'er thou leadest, both
The last sad road below."
The lines must have rung in the poet's ears like a sad refrain. The Digentia lost its charm; he could not see its crystal waters for the shadows of Charon's rueful stream. The prattle of his loved Bandusian spring could not wean his thoughts from the vision of his other self wandering unaccompanied along that "last sad road." We may fancy that Horace was thenceforth little seen in his accustomed haunts. He who had so often soothed the sorrows of other bereaved hearts, answered with a wistful smile to the friendly consolations of the many that loved him. His work was done. It was time to go away. Not all the skill of Orpheus could recall him whom he had lost. The welcome end came sharply and suddenly; and one day, when, the bleak November wind was whirling down the oak-leaves on his well-loved brook, the servants of his Sabine farm heard that they should no more see the good, cheery master, whose pleasant smile and kindly word had so often made their labours light. There was many a sad heart, too, we may be sure, in Rome, when the wit who never wounded, the poet who ever charmed, the friend who never failed, was laid in a corner of the Esquiline, close to the tomb of his "dear knight Maecenas." He died on the 27th November B.C. 8, the kindly, lonely man, leaving to Augustus what little he possessed. One would fain trust his own words were inscribed upon his tomb, as in the supreme hour the faith they expressed was of a surety strong within his heart,—