A jolly farmer fain would be.
His moneys he called in amain—
Next week he put them out again.
is the spirited rendering of Mr. Goldwin Smith.
In his remaining Epodes we may trace the germ of his later written Odes. We have the affectionate addresses to Maecenas, the disgust at civil discords, the cheery invitations to the wine cup, the wooing of some coy damsel. By and by Maecenas presses him to bring them out completed in a volume, and he pleads a fugitive amour in excuse for his delay. Published, however, they were, notwithstanding the distractions of Neaera; went, neatly written out in red-lined columns, to the brothers Sosii in the street called Argiletum, to be multiplied by the librarian's scribes on well-bleached Egyptian papyrus, bound in pumiced parchment, stored in metal boxes on the bookseller's shelves within, while the names of the author and his work were inscribed upon a pillar outside the shop, as a guide to intending purchasers. Copies were sold, probably, for a few denarii each; what would we not give for one of them to-day? Let us hope that their author was well paid.
Horace was now thirty-five years old: the Epodes had taught him his power over lyric verse. He had imitated at first the older Roman satirists; here by Maecenas' advice he copied from Greek models, from Alcaeus and Sappho, claiming ever afterwards with pride that he was the first amongst Roman poets to wed Aeolian lays to notes of Italy (Od. III, xxx, 13). He spent seven years in composing the first three Books of the Odes, which appeared in a single volume about B.C. 23. More than any of his poems they contain the essence of his indefinable magic art. They deal apparently with dull truisms and stale moralities, avowals of simple joys and simple sorrows. They tell us that life is brief and death is sure, that light loves and ancient wines are good, that riches are burdensome, and enough is better than a feast, that country life is delightful, that old age comes on us apace, that our friends leave us sorrowing and our sorrow does not bring them back. Trite sayings no doubt; but embellished one and all with an adorable force and novelty at once sadly earnest and vividly exact; not too simple for the profound and not too artful for the shallow; consecrated by the verbal felicity which belongs only to an age of peculiar intellectual refinement, and which flashed diamond-like from the facets of his own highly polished mind. "He is the Breviary of the natural man, his poetry is the Imitation not of Christ but of Epicurus."
His Odes may be roughly classified as Religious, Moral, Philosophical, Personal, Amatory.
1. Religious. Between the classic and the Christian hymn, as Matthew Arnold has reminded us, there is a great gulf fixed. The Latin conception of the gods was civic; they were superior heads of the Republic; the Roman church was the invisible Roman state; religion was merely exalted patriotism. So Horace's addresses to the deities for the most part remind them of their coronation oaths, of the terms on which they were worshipped, their share in the bargain with humanity, a bargain to be kept on their side if they expected tribute of lambs and piglings, of hallowed cakes and vervain wreaths. Very little of what we call devotion seasons them. In two Odes (I, ii, xii), from a mere litany of Olympian names he passes to a much more earnest deification of Augustus. Another (III, xix) is a grace to Bacchus after a wine-bout. Or Faunus is bidden to leave pursuing the nymphs (we think of Elijah's sneer at Baal) and to attend to his duties on the Sabine farm, of blessing the soil and protecting the lambs (III, xviii). The hymn to Mercury recounts mythical exploits of the winged god, his infantile thefts from Apollo, his guiding Priam through the Grecian camp, his gift of speech to men, his shepherding souls to Hades (I, x). Venus is invoked in a dainty prayer to visit the chapel which Glycera is building for her (I, xxx):
O come, and with thee bring thy glowing boy,
The Graces all, with kirtles flowing free,