amorous effusions of the lyre, we yet have examples in the odes of Anacreon, and the incomparable ode of Sappho: the lyric strains which animated to battle, have sunk into oblivion; but the victors in the public games of Greece have their fame perpetuated in the admirable productions of Pindar.
Horace, by adopting, in the multiplicity of his subjects, almost all the various measures of the different Greek poets, and frequently combining different measures in the same composition, has compensated for the dialects of that tongue, so happily suited to poetry, and given to a language less distinguished for soft inflexions, all the tender and delicate modulations of the Eastern song.
While he moves in the measures of the Greeks with an ease and gracefulness which rivals their own acknowledged excellence, he has enriched the fund of lyric harmony with a stanza peculiar to himself.
In the artificial construction of the Ode, he may justly be regarded as the first of lyric poets. In beautiful imagery, he is inferior to none: in variety of sentiment and felicity of expression, superior to every existing competitor in Greek or Roman poetry.
He is elegant without affectation; and what is more remarkable, in the midst of gaiety he is moral. We seldom meet in his Odes with the abrupt apostrophes of passionate excursion; but his transitions are conducted with ease, and every subject introduced with propriety.
The Carmen Seculare was written at the express desire of Augustus, for the celebration of the Secular Games, performed once in a hundred years, and which continued during three days and three nights, whilst all Rome resounded with the mingled effusions of choral addresses to gods and goddesses, and of