Curate.—I fancy I now see the garden, where somewhat artificial planting had put together the “Pinus ingens albaque Populus,” to consociate, and form the shady arbour, where the wine and unguents are to be brought, and through which the rivus passes angularly, and doubtless with a view to the garden-beauty. It is a sketch from nature of some particular and favourite spot.
Quo Pinus ingens albaque Populus
Umbram hospitalem consociare amant
Ramis, et obliquo laborat
Lympha fugax trepidare rivo.
Aquilius.—Truly, in many places Horace delights to paint this one individual spot. We have in all, the wood, the waters from their higher banks, making falls such as to induce sleep, the garden with its shade, and its fountain, near the house, this continual “aquæ fons.” Such as was his “Fons Bandusiæ,” not fons a mere spring, but sanctified by architectural art, as well as feeling.
“Fies nobilium tu quoque fontium,
Me dicente cavis impositam illicem
Saxis, unde loquaces
Lymphæ desiliunt tuæ.”
But listen to what he desired to possess, and did possess.
“Hoc erat in votis, modus agri non ita magnus,
Hortus ubi, et tecto vicinus jugis aquæ fons,
Et paulum sylvæ super his foret.”
Is he describing his Sabine villa?—I have a sketch on its site—and there is now, whatever there may have been in his days, a high bank, over which the water still falls, (I believe from the Digentia) which by conduits supplied the house, and cattle returned from their labour, and the flocks. There is a small cascade filling a marble basin (the fountain) and thence flowing off through the garden. Perhaps he had in these descriptions one or two scenes in his mind’s eye much alike. A poet’s geography shifts its scenery ad libitum. But see what his Sabine farm was.
Curate.—I remember it.
“Scribetur tibi forma loquaciter, et situs agri.”
But does he not in that passage make rivus a river?—